With a preface written by the author especially for this edition, this is the complete collection of stories by Eudora Welty.
Including the earlier collections A Curtain of Green, The Wide Net, The Golden Apples, and The Bride of the Innisfallen, as well as previously uncollected ones, these forty-one stories demonstrate Eudora Welty's talent for writing from diverse points-of-view with "vision that is sweet by nature, always humanizing, uncannily objective, but never angry" (Washington Post).
This Pulitzer Prize-winning novel tells the story of Laurel McKelva Hand, a young woman who has left the South and returns, years later, to New Orleans, where her father is dying. After his death, she and her silly young stepmother go back still farther, to the small Mississippi town where she grew up. Along in the old house, Laurel finally comes to an understanding of the past, herself, and her parents.
Set in 1923, Delta Wedding is an exquisitely woven story of southern family life, centered around the Fairchild family's preparations for a wedding at their Mississippi plantation. In The Ponder Heart, a comic masterpiece, Miss Edna Earle Ponder, one of the few living members of a once prominent family, tells a traveling salesman the history of her family and fellow townsfolk. This edition brings together two fine works from one of the most beloved writers of the American south.
Drawing on the context in which the protection of the white female body is linked with guarding the U.S. southern body politic, Harriet Pollack traces a pattern in Eudora Welty's fiction in which a sheltered middle-class daughter is disturbed or delighted by an other-class woman who takes pleasure in "making a spectacle" of her corporeal self.Welty herself seeks a parallel self-exposure both through these stories that pair protected girls with at-risk flashers and through her photography's innovating representations of the black female body. Welty's escape from sheltering continues when, after finding herself in love with a man unwilling to acknowledge his homosexuality and so sharing the silence of his closet, she varies the plot of the other woman in a series of midcareer fictions. Additionally, Pollack addresses several critical controversies spawned by Welty's handling of other women's bodies. These concern the comic woman writer's relationship to issues of class and feminism, her puzzled-over and sometimes joyful rape plots, and her handling of race in fictions written when her region was immersed in its Jim Crow regulation of the black body. Two special features of the book are its significant reading of sixty-two visual images and its extensive work with Welty's unpublished manuscripts, in particular those begun during the turmoil of the civil rights struggle in the 1960s and continuing through the 1980s.
In May 1940, Diarmuid Russell, partner in a newly-launched literary agency, wrote to a relatively unknown Eudora Welty, offering to become her agent. This elegant portrait traces Welty's development as a writer and Russell's encouragement of, and devotion to, her talent. Photographs.
"Beyond the portrait of an admirable relationship between author and agent, this work provides insight into the publishing world, the early views and prejudices toward short stories and writers from the South, the obstacles to getting published, and the individual struggles and writing habits of Welty. An enjoyable and enlightening contribution to literary history." - Library Journal
Eudora Welty holds a prominent position among Southern writers, receiving critical attention in publications that scan a wide range of interests. Journals that specialize in American literature, journals that publish general essays, and journals that focus on Southern literature frequently include articles about her works. Her writings have been included in anthologies and have been adapted for the stage and television. This book traces the evolving critical response to her fiction.
In a lucid introductory essay, Champion presents an overview and summarizes the body of criticism on Welty's fiction. The rest of the volume presents representative selections of criticism from the initial reception of Welty's work to the present day. The selections are grouped in chapters devoted to Welty's principal writings. Her fiction is treated chronologically, and the selections within each chapter are also arranged in chronological order. Thus the book charts the development of Welty criticism over an extended period of time. A bibliography of works for further reading completes the volume.
This is the first collection of Welty s stories, originally published in 1941. It includes such classics as A Worn Path, Petrified Man, Why I Live at the P.O., and Death of a Traveling Salesman. The historic Introduction by Katherine Anne Porter brought Welty to the attention of the american reading public.
Readers of Eudora Welty's stories often encounter a protective and domelike nighttime sky, the moon and constellations beckoning a character to venture beyond the familiar, visible world. This striking metaphor for the human need to seek out the unknown serves as an anchoring image in Daughter of the Swan, Gail L. Mortimer's study of Welty's lifelong inquiry into the nature and contexts of knowledge.Mortimer argues that Welty's views on epistemology and the elusiveness of certainty lie at the heart of this writer's subtle and revelatory work. Employing the psychoanalytic object-relations theories of Nancy Chodorow and Carol Gilligan, she reveals how Welty uses assumptions about relationships to shape her characters' consciousnesses. Mortimer also contrasts Welty's world with William Faulkner's; each elucidates the other's remarkably different ways of perceiving humanity, relationships, and approaches to the unknown. The author then turns to Welty's childhood to consider her evolving sense of what--and how--things can be known. Her childhood with adults created impressions of a benign, wondrous, orderly world. As Mortimer observes, Welty eventually replaced these impressions with the realization that adults frequently distort and withhold the truth. Welty's own family's conception of love as a kind of shield, and her resistance to this protection, finds its way into much of her fiction. For many Welty characters, this protective love becomes an obstacle to fuller understanding. Mortimer invokes two of the writer's most beguiling images, the circle and the labyrinth, to demonstrate that "the perceiver" who is "both an insider and an outsider" is best able to recognize and assimilate new knowledge. In The Golden Apples Welty contemplates the difficulty and fascination implicit in this quest for knowledge, given the ambiguous nature of what we know--and given our language's surfaces, and of masks, myths, and falsities to create benevolent illusions. Ultimately, Mortimer concludes, Welty comes to see the concept of protective love as a limited one and, in The Optimist's Daughter, for instance, she advocates instead the courage to face even the harshest realities. Recognizing the richness of Welty's artistry, Mortimer views her through the lens of various literary traditions, including that of Shelley and Yeats. The latter's poem "Among School Children," from which the title of Mortimer's study is borrowed, summons the image of the swan to reflect the solitary human soul in search of knowledge. In that same spirit of wonder and curiosity, Eudora Welty's fiction illuminates the conditions of that search.
A new intertextual reading of "The Golden Apples" that shows Welty to be both a regional writer of great magnitude and a major artist totally engaged with literary modernism.