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Over the last 25 years Bayards has become a well known supplier to the international offshore and marine industry for helicopter platforms.
For the prestigious Sakhalin platform, currently being executed by EPC contractor Worley Parsons located just off Russia's east coast, Bayards will deliver an aluminum helideck including support structure.
As aluminum is 60 percent lighter than conventional steel, the Bayards helidecks are a perfect solution for platforms with a weight problem, while still competitive to steel.
Colonel John Sartoris and his Olympian steed, Granny and her profiteering triumph over the Yankees, the Yoknapatawpha slave community plunging to their Biblical doom in the river, young Bayard repudiating clan violence in favor of a supposedly higher neo-Sartoris moral code--these images do not merely appear in The Unvanquished, a series of romantic accidents on Faulkner's part, but rather define that book's concept of the war's end and the Sartoris family's lurching into modernity.
Binding Quentin Compson and Bayard Sartoris together is a compulsive need to tell themselves through their particular "memories" of the war, narrated in each instance as a function of their respective roles within a community that the war itself has bequeathed to them.
Bayard Sartoris does not signify a consistent narrative focus, since the character's age, thought processes, understanding, and self-awareness evolve from one story to the next, uncoordinated (at least conspicuously) by any larger narrative consciousness.
For Bayard and Ringo playing in the Sartoris dirt, their games and models do not merely approximate or reduce the reality of war but are as much of that reality as they can know.
Bayard Sartoris, on the other hand, recognizes the political--the state, the law, institutionalized violence--in every aspect of the personal.
The first mention of John Sartoris in The Unvanquished, in fact, concerns Bayard's inability to talk to him about the war: "He's at Tennessee, fighting," Bayard says.
Here the man's actual stature matters less than the size of his reported exploits, but even those heroic deeds, Bayard admits, may not be any greater than those performed by other soldiers at the front.
The plot of The Unvanquished largely concerns what Bayard in "Ambuscade" calls "a point at which credulity firmly and calmly and irrevocably declines" (18).
The railroad itself possesses a talismanic importance to Bayard and Ringo, embodying a difference in experience more significant to them than their skin color or social status: "What counted was, what one of us had done or seen that the other had not, and ever since that Christmas I had been ahead of Ringo because I had seen a railroad, a locomotive.
Bayard notes that "Ringo and I had seen Yankees; we had shot at one," but such a moment becomes meaningless beside the sense of history and moral destiny symbolized in the feuding trains.