Merchants of the Jumpweb (Fading Suns RPG) by Bill Bridges, James Moore, Brian Campbell

By Bill Bridges, James Moore, Brian Campbell

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Stranger and hobo are thoughts visually perceived which keep the man at some distance from Byron and so free Byron to react in a whole range of ways, from accepting him to rejecting (or even ignoring) the man. But the man's dressthe remnants of a suit and a professional appearancespeaks to Byron's weekend status in the church (which we shall learn about soon enough in his unfolding consciousness in Light in August) and so aligns Byron with the new man in a brotherhood which is distinct from the "regular" laborers at the sawmill who never assume a professional capacity.

Just as the Sèvres dish and the box with the pearl-rimmed portraits, the garden bench and the map of the world constitute for us the consciousness and meaning of Eugènie Grandet, just as the dance and the auction, the woods and the cathedral, Tostes and Yonville-l'Abbaye constitute Emma Bovary for us, so we know Faulkner's corporal only by knowing the runner, the old general, Levine, and Marthe. We constitute the consciousness of Ike McCaslin not only by knowing the woods and the delta as he knows them, but by gauging his perceptions of Sam and Boon, of Cass and Roth, and of Lucas, Tennie's Jim, and Fonsiba.

In so aligning one or more narrative consciousness with our own consciousness of the work as a single unified aggregate, Faulkner's novels are persistently phenomenological in origin and shape. As consequence, Faulkner's novels are never linear in development; they seem impressionistic. They pursue, stumble, repeat, circle, stop bewildered within the minds of characters who in turn judge, explore, denounce, imagine. There is here a deliberate attempt to capture the human processes of thought and growth which are never one-dimensional, but which oscillate, expand, contract, retrogress, mobilize, partially atrophy, proceed erratically.

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