With a new introduction from best-selling author Ann Patchett, this National Book Award–winning story collection is one of the great works of twentieth-century American literature. Eudora Welty wrote novels, novellas, and reviews over the course of her long career, but the heart and soul of her literary vision lay with the short story, and her National Book Award–winning Collected Stories confirmed her as a master of short fiction. The forty-one pieces collected in this new edition, written over a period of three decades, showcase Welty’s incredible dexterity as a writer. Her style seamlessly shifts from the comic to the tragic, from realistic portraits to surrealistic ones, as she deftly moves between folklore and myth, race and history, family and farce, and the Mississippi landscape she knew so well, her wry wit and keen sense of observation always present on the page.
Featuring a new introduction, this updated edition of the New York Times bestselling classic by Pulitzer Prize and National Book Award–winning author and one of the most revered figures in American letters is “profound and priceless as guidance for anyone who aspires to write” (Los Angeles Times). Born in 1909 in Jackson, Mississippi, Eudora Welty shares details of her upbringing that show us how her family and her surroundings contributed to the shaping not only of her personality but of her writing as well. Everyday sights, sounds, and objects resonate with the emotions of recollection: the striking clocks, the Victrola, her orphaned father’s coverless little book saved since boyhood, the tall mountains of the West Virginia back country that became a metaphor for her mother’s sturdy independence, Eudora’s earliest box camera that suspended a moment forever and taught her that every feeling awaits a gesture. In her vivid descriptions of growing up in the South—of the interplay between black and white, between town and countryside, between dedicated schoolteachers and the children they taught—she recreates the vanished world of her youth with the same subtlety and insight that mark her fiction, capturing “the mysterious transfiguring gift by which dream, memory, and experience become art” (Los Angeles Times Book Review). Part memoir, part exploration of the seeds of creativity, this unique distillation of a writer’s beginnings offers a rare glimpse into the Mississippi childhood that made Eudora Welty the acclaimed and important writer she would become.
The radiant world of Eudora Weltyas art is charged by a poignant and familiar beauty, and here in a stunning book of her photographic work is a dazzling record of this writeras unique and special vision
Eudora Welty's subjects are the people who live in southern towns like Jackson, Mississippi, which has been her home for all of her long life. I've stayed in one place, ' she says, and 'it's become the source of the information that stirs my imagination.' Her distinctive voice and wry observations are rooted in the southern conversational tradition. The stories in this volume, from the first two collections she published, range in tone from the quietly understated and psychologically subtle to the outrageously grotesque. Linking them all is Welty's remarkable ear for the language and point of view of the South. 'She's a lot smarter than her cousins in Beula, ' someone remarks about a reputed suicide in one story. 'Especially Edna Earle, that never did get to be what you'd call a heavy thinker. Edna Earle could sit and ponder all day on how the little tail of the 'c' got through the 'I' in a Coca-Cola sign." The stories in this volume, from the first two collections she published, range in tone from the quietly understated and psychologically subtle to the outrageously grotesque.
Eudora Welty was one of the twentieth century’s greatest literary figures. For as long as students have been studying her fiction as literature, writers have been looking to her to answer the profound questions of what makes a story good, a novel successful, a writer an artist. On Writing presents the answers in seven concise chapters discussing the subjects most important to the narrative craft, and which every fiction writer should know, such as place, voice, memory, and language. But even more important is what Welty calls “the mystery” of fiction writing—how the writer assembles language and ideas to create a work of art. Originally part of her larger work The Eye of the Story but never before published in a stand- alone volume, On Writing is a handbook every fiction writer, whether novice or master, should keep within arm’s reach. Like The Elements of Style, On Writing is concise and fundamental, authoritative and timeless—as was Eudora Welty herself.
The debut short fiction collection from the Pulitzer Prize–winning Southern author: “A fine writer and a distinguished book” (The New Yorker). When A Curtain of Green was published, it immediately established an unknown young writer from Mississippi as a uniquely original literary voice and a great American author. In her now-famous introduction to the collection, Katherine Anne Porter wrote that “there is even in the smallest story a sense of power in reserve which makes me believe firmly that, splendid beginning that it is, it is only a beginning.” In this collection are many of the stories that have become acknowledged masterpieces: the hilarious over-the-top family drama that drives a small-town resentful postmistress to explain “Why I Live at the P.O.”; the deeply satisfying thwarting of a trio of busybodies by a “feeble-minded” young woman in “Lily Daw and the Three Ladies”; the poignant pilgrimage of elderly Phoenix Jackson in “A Worn Path”; and the boldly experimental and jubilantly playful literary improvisation of “Powerhouse,” inspired by a performance Eudora Welty saw by Fats Waller. Porter added that “[Welty] has simply an eye and an ear sharp, shrewd, and true as a tuning fork.” Like the jazz tunes Powerhouse bangs out on the piano, Welty’s stories remain as fresh, alive, and unpredictable today as when they first appeared. “Miss Welty’s stories are deceptively simple. They are concerned with ordinary people, but what happens to them and the manner of the telling are far from ordinary.”—The New Yorker
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.
The radiant world of Eudora Weltyas art is charged by a poignant and familiar beauty, and here in a stunning book of her photographic work is a dazzling record of this writeras unique and special vision
A collection of short stories from the Pulitzer Prize–winning author of classic American southern literature. Combining stories set in the rural south, Eudora Welty’s own special province, and stories with a European locale, which give a wider range to her fiction, The Bride of Innisfallen demonstrates the remarkable talent of one of the finest short story writers of our time. The gentle wit of the title story, the grave and musical prose of “Circe,” a retelling of Greek myth, the acute character portrayal and extraordinary evocation of the steamy bayou county in “No Place for You, My Love” are all touched with the particular magic that has made Welty one of America’s most beloved storytellers. “The writing throughout is at Ms. Welty’s best level.” —Edward Weeks, The Atlantic
This collection of short stories of the Mississippi Delta by the Pulitzer Prize–winning author is “a work of art” (The New York Times Book Review). Here in Morgana, Mississippi, the young dream of other places; the old can tell you every name on every stone in the cemetery on the town’s edge; and cuckolded husbands and love-starved piano teachers share the same paths. It’s also where one neighbor has disappeared on the horizon, slipping away into local legend. Black and white, lonely and the gregarious, sexually adventurous and repressed, vengeful and resigned, restless and settled, the vividly realized characters that make up this collection of interrelated stories, with elements drawn from ancient myth and transplanted to the American South, prove that this National Book Award–winning writer, as Katherine Anne Porter once wrote, had “an ear sharp, shrewd, and true as a tuning fork.” “I doubt that a better book about ‘the South’—one that more completely gets the feel of the particular texture of Southern life, and its special tone and pattern—has ever been written.” —The New Yorker
Stories as good in themselves and as influential on the aspirations of others as any since Hemingway's. These stories are honest, and vastly entertaining.
Much like her highly acclaimed One Writer's Beginnings, The Eye of the Story offers Eudora Welty's invaluable meditations on the art of writing. In addition to seven essays on craft, this collection brings together her penetrating and instructive commentaries on a wide variety of individual writers, including Jane Austen, E. M. Forster, Willa Cather, Anton Chekhov, William Faulkner, and Virginia Woolf.
Watch out for the mosquitoes," they called to one another, lyrically because warning wasn't any use anyway, as they walked out of their kimonos and dropped them like the petals of one big scattered flower on the bank behind them, and exposing themselves felt in a hundred places at once the little pangs.' Moon Lake is the story of a summer camp in Mississippi, a surly lifeguard, a rebellious orphan girl, and the fateful day when they learn the secrets of life and death. Pulitzer Prize-winner Eudora Welty's extraordinary short story is a lushly atmospheric and acutely observed portrayal of the strange, surreal time between childhood and adulthood.
Tell about Night Flowers presents previously unpublished letters by Eudora Welty, selected and annotated by scholar Julia Eichelberger. Welty published many of her best-known works in the 1940s: A Curtain of Green, The Wide Net, The Robber Bridegroom, Delta Wedding, and The Golden Apples. During this period, she also wrote hundreds of letters to two friends who shared her love of gardening. One friend, Diarmuid Russell, was her literary agent in New York; the other, John Robinson, was a high school classmate and an aspiring writer who served in the Army in WWII, and long the focus of Welty's affection. Welty's lyrical, witty, and poignant discussions of gardening and nature are delightful in themselves; they are also figurative expressions of Welty's views of her writing and her friendships. Taken together with thirty-five illustrations, they form a poetic narrative of their own, chronicling artistic and psychic developments that were underway before Welty was fully conscious of them. By 1949 her art, like her friendships, had evolved in ways that she would never have predicted in 1940. Tell about Night Flowers not only lets readers glimpse Welty in her garden; it also reveals a brilliant and generous mind responding to the public events, people, art, and natural landscapes Welty encountered at home and on her travels during the 1940s. This book enhances our understanding of the life, landscape, and art of a major American writer.
Uncle Daniel Ponder, whose fortune is exceeded only by his desire to give it away, is a source of vexation for his niece, Edna Earle. Uncle Daniel's trial for the alleged murder of his seventeen-year-old bride is a comic masterpiece. Awarded the William Dean Howells Medal of the american Academy of Arts and Letters. Drawings by Joe Krush.
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