Kreyling instead reveals the dynamic growth in the depth and complexity of Welty's vision and literary technique over the course of her career."--BOOK JACKET.

Eudora Welty: Thirteen Essays edited by Peggy W. Prenshaw This collection of essays about the writings of Eudora Welty, a southern writer in the grand tradition of American literature, reflects the range of Welty criticism. Themes, forms, and stylistic features in her work are given careful consideration by some of the most notable of Welty scholars: Chester E. Eisinger, John A. Allen, J. A. Bryant, Jr., John Edward Hardy, Albert J. Devlin, Warren French, Julia L. Demmin and Daniel Curley, Daniele Pitavy-Souques, Robert B. Heilman, Seymour L. Gross, Barbara McKenzie, Michael Kreyling, and Ruth M. Vande Kieft. The essays included in this volume were selected from the 1979 publication Eudora Welty: Critical Essays also edited by Peggy W. Prenshaw. Eudora Welty: Thirteen Essays retains the breadth of subject and approach that marked the earlier volume. Dr. Peggy W. Prenshaw is currently the Millsaps College Humanities Scholar in Residence. She recently retired from the Fred C. Frey Chair in Southern Studies at Louisiana State University. She has published widely on southern women writers, including Eudora Welty and Elizabeth Spencer.

Contributions by Jacob Agner, Sarah Gilbreath Ford, Katie Berry Frye, Michael Kreyling, Andrew B. Leiter, Rebecca Mark, Suzanne Marrs, Tom Nolan, Michael Pickard, Harriet Pollack, and Victoria Richard Eudora Welty’s ingenious play with readers’ expectations made her a cunning writer, a paramount modernist, a short story artist of the first rank, and a remarkable literary innovator. In her signature puzzle-texts, she habitually engages with familiar genres and then delights readers with her transformations and nonfulfillment of conventions. Eudora Welty and Mystery: Hidden in Plain Sight reveals how often that play is with mystery, crime, and detective fiction genres, popular fiction forms often condescended to in literary studies, but unabashedly beloved by Welty throughout her lifetime. Put another way, Welty often creates her stories’ secrets by both evoking and displacing crime fiction conventions. Instead of restoring order with a culminating reveal, her story-puzzles characteristically allow mystery to linger and thicken. The mystery pursued becomes mystery elsewhere. The essays in this collection shift attention from narratives, characters, and plots as they have previously been understood by unearthing enigmas hidden within those constructions. Some of these new readings continue Welty’s investigation of hegemonic whiteness and southern narratives of race—outlining these in chalk as outright crime stories. Other essays show how Welty anticipated the regendering of the form now so characteristic of contemporary women mystery writers. Her tender and widely ranging personal correspondence with the hard-boiled American crime writer Ross Macdonald is also discussed. Together these essays make the case that across her career, Eudora Welty was arguably one of the genre’s greatest double agents, and, to apply the titles of Macdonald’s novels to her inventiveness with the form, she is its “underground woman,” its unexpected “sleeping beauty.”

Presenting the first full-length collection of essays on Eudora Welty's novel, Delta Wedding (1946), this volume is the fourth book in Rodopi Press's Dialogue Series. Within these pages, emerging and experienced literary critics engage in an exciting dialogue about Welty's noted novel, presenting a wide range of scholarship that focuses on feminist concerns, pays tribute to the rhetoric of exclusion and empowerment, examines the role of outsider and boundaries, explores meaning-making, and highlights the novel's humor and musicality. This volume will no doubt be of interest to Welty aficianados as well as southern studies and feminist scholars and to those who are interested in the craft of writing fiction.

Contributions by Jacob Agner, Susan V. Donaldson, Sarah Gilbreath Ford, Stephen M. Fuller, Jean C. Griffith, Ebony Lumumba, Rebecca Mark, Donnie McMahand, Kevin Murphy, Harriet Pollack, Christin Marie Taylor, Annette Trefzer, and Adrienne Akins Warfield The year 2013 saw the publication of Eudora Welty, Whiteness, and Race, a collection in which twelve critics changed the conversation on Welty’s fiction and photography by mining and deciphering the complexity of her responses to the Jim Crow South. The thirteen diverse voices in New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. These essays freshly consider such topics as Welty’s uses of African American signifying in her short stories and her attention to public street performances interacting with Jim Crow rules in her unpublished photographs. Contributors discuss her adaptations of gothic plots, haunted houses, Civil War stories, and film noir. And they frame Welty’s work with such subjects as Bob Dylan’s songwriting, the idea and history of the orphan in America, and standup comedy. They compare her handling of whiteness and race to other works by such contemporary writers as William Faulkner, Richard Wright, Toni Morrison, Chester Himes, and Alice Walker. Discussions of race and class here also bring her masterwork The Golden Apples and her novel Losing Battles, underrepresented in earlier conversations, into new focus. Moreover, as a group these essays provide insight into Welty as an innovative craftswoman and modernist technician, busily altering literary form with her frequent, pointed makeovers of familiar story patterns, plots, and genres.

Eudora Welty and Surrealism surveys Welty's fiction during the most productive period of her long writing life. The study shows how the 1930s witnessed surrealism's arrival in the United States largely through the products of its visual artists. Welty, a frequent traveler to New York City where the surrealists exhibited and a keen reader of magazines and newspapers that disseminated their work, absorbed and unconsciously appropriated surrealism's perspective in her writing. In fact, Welty's first solo exhibition of her photographs in 1936 took place next door to New York's premier venue for surrealist art. In a series of readings that collectively examine A Curtain of Green and Other Stories, The Wide Net and Other Stories, Delta Wedding, The Golden Apples, and The Bride of the Innisfallen and Other Stories, the book reveals how surrealism profoundly shaped Welty's striking figurative literature. Yet the influence of the surrealist movement extends beyond questions of style. The study's interpretations also foreground how her writing refracted surrealism as a historical phenomena. Scattered throughout her stories are allusions to personalities allied with the movement in the United States, including figures such as Salvador Dal', Elsa Schiaparelli, Caresse Crosby, Wallace Simpson, Cecil Beaton, Helena Rubinstein, Elizabeth Arden, Joseph Cornell, and Charles Henri Ford. Individuals such as these and others whom surrealism seduced often lead unorthodox and controversial lives that made them natural targets for moral opprobrium. Eschewing such parochialism, Welty borrowed the idiom of surrealism to develop modernized depictions of the South, a literary strategy that revealed not only cultural farsightedness but great artistic daring.

Gale Researcher Guide for: A Different South: Eudora Welty, Carson McCullers is selected from Gale's academic platform Gale Researcher. These study guides provide peer-reviewed articles that allow students early success in finding scholarly materials and to gain the confidence and vocabulary needed to pursue deeper research.

Eudora Welty and Walker Percy were friends but very different writers, even though both were from the Deep South and intensely interested in the relation of place to their fiction. This work explores in each the concept of home and the importance of home to the homo viator ("man on his way"), and anti-idealism and anti-romanticism. The differences between Welty and Percy and in their fiction were revealed in the habits of their lives. Welty spent her life in Jackson, Mississippi, and was very much a member of the community. Percy was a wanderer who finally settled in Covington, Louisiana, because it was, as he called it, a "noplace." The author also asserts that Percy somewhat envied Welty and her stability in Jackson, and that for him, place was such a nagging concern that it became a personal problem to him as homo viator.

A Study Guide for Eudora Welty's "Bye-Bye Brevoort," excerpted from Gale's acclaimed Drama For Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Drama For Students for all of your research needs.

In this colorful biography, explore the early years of the iconic Mississippi writer who came of age in the American South. Eudora Alice Welty led an exciting and surprising life. Before she won a Pulitzer Prize, as a little girl she made her own books and won national poetry prizes. As a young woman during the Great Depression, she was a photographer and took pictures all over the South. These and other stories pack the life of one of Mississippi’s most famous authors. With author and teacher Richelle Putnam, learn about the remarkable life of one of Mississippi’s literary treasures, complete with vivid illustrations by John Aycock that are as colorful as Eudora’s stories.