William Faulkner in his novels, The Sound and the Fury, The Intruder In The Dust, and Go Down, Moses written in 1929, 1948, and 1942 shows that Southerners treat African-Americans poorly not only in his fiction but as well as in history. In an attempt to create a saga of his own, Faulkner invented many characters from the historic South. He was known as a Southern American novelist and therefore set his fiction in imaginary Yoknapatawpha County during the times of slavery. The use of symbolism, dialect, and structure help to produce a racial theme in which evil and injustice of the world turn a "white" against a "black". From Faulkner's point of view of Southern history, "God created and man himself cursed and tainted." In other words, the "whites" brought the "blacks" to America and then turned against them.

In 1897, William Faulkner began his journey in the world starting in New Albany, Mississippi. He lived in nearby Oxford, Mississippi, nearly all of his life. "Superficially Faulkner, is one of the most markedly regional writers, since the bulk of his work is set in the America deep South, drawing its inspiration from southern myths and

William Faulkner contributed many ideas to the Southern history. His universal theme of the toll taken by white Southerners towards African Americans emphasized how cruel people can really be. All parts of his writing influenced readers as well as important literary writers. This writing also made it possible to view the history of the South at different perspectives. Faulkner's novels, as a whole, contributed much to the Southern history.

William Faulkner's characters can be compared to the old South by analogy and metaphor. In his early work, Faulkner approaches the creation of myth. That is to say, his characters are so convincing and universal and so recognizable that they attain the stature of archetypes while retaining the complexities of human beings. Their actions evolve into metaphors about the nature of human experience. Now, Faulkner has moved from the presentation of archetypal images to he presentation of "disguised ideas." Faulkner's characters have obtained his private identities of himself and people he knew. "That Will Be Fine," a story which first appeared in 1935, illustrates perfectly Faulkner's attitude towards past and present. "A Rose for Emily" appeared in 1930. Emily, a figure from the past, grows to a middle age without marrying. She is a symbol of the past as well as a fully realized pathetic figure. When all hope for marriage seems to be past, she is seen in company with a man who symbolizes the New South, the present. These representations of past and present help the reader to see that Faulkner bases all of his novels on the past and present of the South. In the controlling and shaping generation, the image of the past is represented in The Sound and the Fury by Mr. and Mrs. Compson and Uncle Maury. It is not the present corrupting the past which is here revealed, but the false values of the Old South which distort and destroy the present. The absence of authority, the chaos visible here in the smallest matters, extends significantly to the world of moral order. The Old South destroying the present can be compared to African Americans by the freeing of the slaves and the Southerners' reactions towards it destroyed how the African Americans would be able to live in the American society.

The structure of all of William Faulkner's novels shows that Faulkner cannot stay away from writing about the South as a whole. Intruder in the Dust pretends to be a novel in the murder-mystery genre. As in the case of the other later novels, the thin narrative veneer fails to obscure the all too obvious fact that the developing consciousness of the characters and a play with philosophical abstractions are the central concern. In this case the attempt to write for all levels of perception and appreciation leads to failure all around. There are three distinct "areas" of treatment: the purely narrative, the race-relations theme, and, arising out of the latter, the humanistic theme. This last concern is the primary motivating one of the novel. It was conceived first and then dressed in a contrived plot. However, writing of a geographical area that he knows best, where the emotional climate is tense with the overwhelming problem of race relations, Faulkner finds himself unable to avoid social commentary and the explicit presentation of a point of view. As with the other novels published between 1948 and 1954, two basic faults of style become obvious in Intruder in the Dust. One is actually a structural fault; the other is a stylistic fault which amounts in fiction to a breach of good taste. In the first place, the failure of manner and matter to emerge as a unified conception from the author's imagination leads to a breakdown in the effort to sustain a coherent and credible narrative. Whereas in the most effective literature we find the story level and the symbolic implications sustaining each other, here the "levels" or ranges of connotation intrude upon each other. Requiem for a Nun and Intruder in the Dust are

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