How we cite our quotes: (Section.Paragraph)
Quote #4
She told a story [...] "And so this here queen come walking up to the ditch, where that bad man was hiding. She was walking up to the ditch, and she say, "If I can just get past this here ditch," was what she say [...] She had to cross the ditch to get into her house quick and bar the door." (3.63-65)
Nancy is telling a story that's really a re-imagining of what just happened to her—the frightening trip to her house. She's already remembering, in other words, a very recent event… and already her mind is altering how she feels about it. Seemingly under pressure from her own mind's fear, she basically refers to herself as a queen, even though the story she's telling is supposedly fictional. It turns out that memory can play tricks even with the very recent past.
Quote #5
"Caddy made us come down here," Jason said. "I didn't want to." (5.3)
Here we seem to have something of an example of confirmation bias—the way that people looking for something tend to find what they already believe. Jason now believes he didn't want to go, but evidence suggests he did a few pages back, to prove he wasn't afraid. Memory is terribly susceptible to confirmation bias, and once more, Modernists such as Faulkner take pains to paint the workings of the mind and memory. Leave it to a literary movement as notoriously complicated as Modernism to tackle something as notoriously complicated as memory, eh?
Quote #6
She talked quieter now, and her face looked quiet, like her hands. "Anyway, I got my coffin money saved up with Mr. Lovelady." Mr. Lovelady was a short, dirty man who collected the Negro insurance, coming around to the cabins or the kitchens every Saturday morning, to collect fifteen cents. He and his wife lived at the hotel. One morning his wife committed suicide. They had a child, a little girl. He and the child went away. After a week or two he came back alone. We would see him going along the lanes and the back streets on Saturday mornings. (5.26)
This weird little subject change is famous enough to get its own title: critics call this passage "the Lovelady digression." One way to make sense of it is to think that the adult Quentin, narrating this story, might be uncomfortable with his memory approaching the conclusion where his family abandons Nancy. So he goes off a tangent about Mr. Lovelady, which happens to be suitably creepy, so in a sense, it's still an associative path for his mind to take.