A Tyrannous Eye: Eudora Welty’s Nonfiction and Photographs is the first book-length study of Eudora Welty’s full range of achievements in nonfiction and photography. A preeminent Welty scholar, Pearl Amelia McHaney offers clear-eyed and complex assessments of Welty’s journalism, book reviews, letters, essays, autobiography, and photographs. Each chapter focuses on one genre, filling in gaps left by previous books. With keen skills of observation, finely tuned senses, intellect, wit, awareness of audience, and modesty, Welty applied her genius in all that she did, holding a tough line on truth, breaking through “the veil of indifference to each other’s presence, each other’s wonder, each other’s plight.” McHaney’s study brings critical attention to the under-evaluated genres of Welty’s work and discusses the purposeful use of arguments, examples, and styles, demonstrating that Welty pursued her craft to a high standard across genres with a greater awareness of context than she admitted in her numerous interviews. Welty consistently dared new styles, new audiences, and new publishing venues in order to express her ideas to their fullest. It is “serious daring,” as she wrote in One Writer’s Beginnings, that makes for great writing. In “Place in Fiction,” Welty asks, “How can you go out on a limb if you do not know your own tree? No art ever came out of not risking your neck. And risk—experiment—is a considerable part of the joy of doing.”
A Tyrannous Eye: Eudora Welty’s Nonfiction and Photographs is the first book-length study of Eudora Welty’s full range of achievements in nonfiction and photography. A preeminent Welty scholar, Pearl Amelia McHaney offers clear-eyed and complex assessments of Welty’s journalism, book reviews, letters, essays, autobiography, and photographs. Each chapter focuses on one genre, filling in gaps left by previous books. With keen skills of observation, finely tuned senses, intellect, wit, awareness of audience, and modesty, Welty applied her genius in all that she did, holding a tough line on truth, breaking through “the veil of indifference to each other’s presence, each other’s wonder, each other’s plight.” McHaney’s study brings critical attention to the under-evaluated genres of Welty’s work and discusses the purposeful use of arguments, examples, and styles, demonstrating that Welty pursued her craft to a high standard across genres with a greater awareness of context than she admitted in her numerous interviews. Welty consistently dared new styles, new audiences, and new publishing venues in order to express her ideas to their fullest. It is “serious daring,” as she wrote in One Writer’s Beginnings, that makes for great writing. In “Place in Fiction,” Welty asks, “How can you go out on a limb if you do not know your own tree? No art ever came out of not risking your neck. And risk—experiment—is a considerable part of the joy of doing.”
When Robert van Gelder began editing the Times Book Review, he changed the old pattern of using the same reviewers over and over till they wore out, by inviting some brand new names. Nash's debut (from Jackson, where he was by then a schoolmaster, and the husband of one of his ex-pupils) was a review that delighted Mr. van Gelder so much that he popped it right onto the fron page. When it came under Mr. Markel's eye, it's told, he phoned Mr. van Gelder and demanded to know who in hell was Nash K. Burger Jr. `Nash K. Burger Jr.,' Mr. van Gelder replied, `is the author of the book review we are using on page one.
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