This chapter investigates how Faulkner uses the figure of eyes as inkwells in his depiction of Temple Drake in his sensationalist 1931 novel Sanctuary where she is raped with a corncob by an impotent gangster. The ink represents the various narratives men imagine themselves drawing from her – she is either too sexual or not sexual enough, the victim of a crime or its instigator. Faulkner wrote Requiem for a Nun (1951) as a sequel to Sanctuary that in many ways recapitulates this sadism, but he suggests the possibility that Temple herself could achieve a new kind of agency as a paperback writer in the manner of Faulkner penning these salacious novels and eventually profiting from them. The topic of masculinity in Faulkner’s work is also fraught terrain. In Soldiers’ Pay (1926), Margaret Powers surprises the young Robert Saunders swimming naked; his body, the narrator says, looked like the color of old paper. This marks on Robert’s body a female gaze. Throughout his career, Faulkner wrestled with the idea that writing connotes effeminacy over and against masculine action, but spiritually and physically strong women become connected with writing in ways that defy a strict gender binary.