sex and sexuality, the reader notes that each of these men begins the novel inhabiting very distinct and disparate ways of interacting with the creative world: the quiet self-absorbed artist, the cynical critic, and the talkative author respectively. As the novel progresses, minor changes are witnessed in each of these characters, and upon their return from the yachting trip they, the only respectable artists are those who have changed, growing more similar to each other throughout the course of the trip. These changes mark Faulkner's more honed view of determining what it means to be an artist, simultaneously dedicated to his work, critical of his abilities, and engaged in the world outside his writing. Critical response Mosquitoes did not receive notable critical response at the time of its publishing, but following Faulkner's rise to a place of prominence in American Literature, the book has garnered a significant body of reviews, interpretations, and analyses. With few exceptions, critics of Faulkner consider Mosquitoes to be his weakest and also most imitative work, citing his use of the literary styles of Aldous Huxley, T.S. Eliot, and James Joyce. Following this observation of Mosquitoes''' imitative qualities, the book has also been considered by many to represent a period in Faulkner's life where he begins to cultivate, though not yet successfully, the personal literary style for which he later becomes famous. Critics cite his preoccupation with the themes discussed above, which he had attempted to work through prior to Mosquitoes in a few unpublished works as the primary distractions from his ability to hone his own style during this period. One unique stance on the otherwise vastly disparaged Mosquitoes is furthered by Kenneth Hepburn in his 1971 article "Faulkner's Mosquitoes: A Poetic Turning Point". Though he makes sure to claim that he does not argue for the "reappraisal of Mosquitoes as a work of great quality," Hepburn argues that the novel has much more merit than had previously been assigned by academics. Focusing on two sections in the epilogue of the novel, Hepburn argues that instead of a confused and inconclusive statement on the role of the artist in society, the final actions of Gordon, Julius, and Fairchild each represent parts of a whole that must be read together to understand Faulkner's ultimate conclusion on what an artist should be. Hepburn furthers this argument by bringing about his final conclusion that due to this exploration