ss and encloses himself in shadows. These shadows have a way of preventing him from forgetting that time is constantly looming over him, like a dark cloud that reminds him, as well as the reader, that time does exist, and idea that contradicts Benjys treatment of chronology. Despite his fascination with the persistence of time, Quentin loved only one thing. As noted in the epilogue, he loved death above allloved only death, loved and lived in a deliberate and almost perverted anticipation of death (Faulkner 336). Because of Quentins obsession with darkness, morbidity, and death itself, his point of view is almost futuristic. Day by day, he lives in anticipation, anxious for the day when his biological clock will cease to tick away the minutes of his unfortunate existence. Quentins dark point of view contrasts sharply with that of Benjy, and thus weaves another strand into Faulkners intense lattice. Jason Compson presents the first sequential narration in this novel and, by doing so, establishes the fact that he is (or tries to be) in control of all around him. After his fathers death, he took on the role as the man of the house and, in comparison with his suicidal and idiot brothers and his promiscuous sister, seemed to be the only child with any direction or common sense. In the appendix, Faulkner characterized Jason as the first sane Compson since before Culloden and (a childless bachelor) hence the last (Faulkner 342). Jason is the first character to act as though he has a grasp on life, duty, and especially time, which is extremely distorted in the minds of his two brothers. Because of this, one assumes that Jason sanity exceeds that of any other Compson, regardless of the fact that his attitude toward time is so nonchalant that he has trouble being punctual. However, Jason is far from sane. His passion for control led him so far as to manage his sisters relationship with her own daughter: Then I took the raincoat off of her and hel...
