readers of Faulkner that direct references to Faulkner's life do not end here. Dawson Fairchild's character, for example, is known to be a satirical portrait of his mentor Sherwood Anderson and is cited to be the reason for his falling-out with Faulkner. Significant Textual Deletions by the Publisher Though not regarded as an extremely cohesive story, in reading Mosquitoes, textual disjointedness is especially evident in a few sections. This is due to the four significant edits by Boni & Liveright in 1927 prior to the book's publishing. As discussed below in the "Major Themes" section, sex and sexuality play a significant part in the discussions and interactions of the characters in Mosquitoes. Though the book, in its published form, does explore various erotic scenes and notions including lesbianism, four major sections were cut from the book and survive now only in Faulkner's original typescript preserved by the University of Virginia Alderman Library. Faulkner scholar Minrose Gwin suggests that the publisher drew the line at these four scenes due to their explicit explorations of homoeroticism. Where there are many instances of implied homoerotic, and more specifically lesbian, feelings and actions, these excised scenes most likely stretched the taboo displays of sexuality too far to be published in the 1920s. Major Themes The hour-by-hour, day-by-day organization of the novel suggests, in form as well as function, the nature of the repetitive and mundane days spent on the cruise ship. By grounding the repetitive activities of the characters in concrete temporal divisions, Faulkner gives structure to what might otherwise seem to be an endless stream of conversation and interaction between various combinations of the yacht's passengers. This intentionally mundane structure also forces the boat and the preoccupations of the passengers (swimming, dancing, eating, etc.) to become a stage for the characters' primary function as "thinly veiled mouthpieces [that] function as rhetorical devices" through which Faulkner is able to work through major issues that he struggled to understand in his own life. He does this by inhabiting the characters' various personas to address these themes either through their overt discussions or hidden thoughts. Regardless of how individual characters explore the themes, readers have access to them through Faulkner's omniscient third-person narration. Though many views on the contemporary culture of the 1920s American south could be drawn from the endless cultural references in Faulkner's writing, two major themes manifest in the text and are explored