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Jason Compson, Belated Slave Master
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The slave master appears and then makes a belated symbolic reappearance in William Faulkner’s Absalom, Absalom! and The Sound and the Fury. In this essay, Julia Stern traces master Thomas Sutpen’s idiosyncratic practices, working along with his bonds people by day and engaging in spectacular wrestling matches against them at night. These agons allow Sutpen to re-enact his white supremacy. The essay then argues that Faulkner imagines Jason Compson as a white slave master born a century too late. Jason’s abuse of niece Quentin enacts the very treatment that enslavers practiced on their slaves, summarized by sociologist Orlando Paterson: natal alienation, social death, fictive kinship, human parasitism and ideological reversal. But Quentin reverses the master-slave relationship with Jason, re-appropriating 15 years-worth of child support money he has stolen from her. Stern concludes with a reading of Luster, Dilsey’s grandson, and his aesthetic ambitions, arguing that in this descendant of slaves lies the problematic and only hope for the Compsons, black and white.
Title: Jason Compson, Belated Slave Master
Description:
The slave master appears and then makes a belated symbolic reappearance in William Faulkner’s Absalom, Absalom! and The Sound and the Fury.
In this essay, Julia Stern traces master Thomas Sutpen’s idiosyncratic practices, working along with his bonds people by day and engaging in spectacular wrestling matches against them at night.
These agons allow Sutpen to re-enact his white supremacy.
The essay then argues that Faulkner imagines Jason Compson as a white slave master born a century too late.
Jason’s abuse of niece Quentin enacts the very treatment that enslavers practiced on their slaves, summarized by sociologist Orlando Paterson: natal alienation, social death, fictive kinship, human parasitism and ideological reversal.
But Quentin reverses the master-slave relationship with Jason, re-appropriating 15 years-worth of child support money he has stolen from her.
Stern concludes with a reading of Luster, Dilsey’s grandson, and his aesthetic ambitions, arguing that in this descendant of slaves lies the problematic and only hope for the Compsons, black and white.
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