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Books : Literature & Fiction : Authors, A-Z : ( W ) : Welty, Eudora
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From the seemingly trivial postponement of a visit to a nearby lighthouse, Virginia Woolf constructs a remarkable and moving examination of the complex tensions and allegiances of family life, and the conflict between male and female principles, in what is probably her most popular novel.
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This complete collection includes all the published stories of Eudora Welty. There are forty-one stories in all, 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 stories. With a Preface written by the Author especially for this edition.
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One Writer's Beginnings (The William E. Massey Sr. Lectures in the History of American Civilization)
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Legendary figures of Mississippi’s past-flatboatman Mike Fink and the dreaded Harp brothers-mingle with characters from Eudora Welty’s own imagination in an exuberant fantasy set along the Natchez Trace. Berry-stained bandit of the woods Jamie Lockhart steals Rosamond, the beautiful daughter of pioneer planter Clement Musgrove, to set in motion this frontier fairy tale. “For all her wild, rich fancy, Welty writes prose that is as disciplined as it is beautiful” (New Yorker).
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A vivid and charming portrait of a large southern family, the Fairchilds, who live on a plantation in the Mississippi delta. The story, set in 1923, is exquisitely woven from the ordinary events of family life, centered around the visit of a young relative, Laura McRaven, and the family’s preparations for her cousin Dabney’s wedding.
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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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In 1956, Caedmon had the great fortune to record Eudora Welty reading some of her finest stories. In her sweetly vibrant Mississippi drawl, Ms. Welty deftly draws the listener in to the uproariously multilayered "Why I Live at the P.O.," the spontaneous "Powerhouse" and the insightful voice of women's truths in "Petrified Man." Ms. Welty's reading brings immediacy and resonance to these wonderful tales.
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Welty is on home ground in the state of Mississippi in this collection of seven stories. She portrays the MacLains, the Starks, the Moodys, and other families of the fictitious town of Morgana. “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” (New Yorker).
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When Arturo the Parrot, whose job was to help greet people as they came into The Friendly Shoe Store, picked up and repeated a small boy's disgruntled comment---Shoes are for the birds!---it certainly changed the course of his life! This is Eudora Welty's only book specifically for young readers.
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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.
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Throughout her writing career Eudora Welty's camera was a close companion. She is among the very few authors who are acclaimed for their work in both literature and photography. The 100 duotone pictures in this volume are selections from the many she took during the Great Depression as she traveled in her home state of Mississippi while she was working for the WPA.
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A great writer's poignant photographs of Mississippi graveyards and memorial stones
For many years Eudora Welty wished to produce a book about country churchyards. Published at long last, in her ninety-first year, this book includes ninety of her photographs along with a conversation in which Welty shares her impressions and her memories of the 1930s and 1940s when she rambled through Mississippi cemeteries taking pictures. She recalls poignant and sometimes chilling experiences that occurred.
"I took a lot of cemetery pictures in my life," she said. "For me cemeteries had a sinister appeal somehow." Her camera eye focused on distinctive funerary emblems, statuary, storied urns, and appealing folklife qualities expressed in the gravestones. Just as many pieces of Welty's fiction feature lyrical descriptions of cemeteries and graves in a way that is expressly Weltian, so too do these photographs taken in the cool, sequestered churchyards and graveyards of Jackson, Port Gibson, Churchill, Rodney, Utica, Crystal Springs, Vicksburg, Rocky Springs, and sites near the old Natchez Trace.
They not only document her rambles but also accent the images of regional cemeteries that appear in her stories and novels. This is her unique view of the southern graveyard and of its unusual artworks that arrested her attention -- chains, willows, baskets, angels, lambs, pointing hands, doves, and wreaths. "I like the tombstones showing children asleep in seashells," she says. For her, an absorbed observer, there is charm in the stone motifs and in the sentimental modes of commemorating the dead.
As a contemplative loner she called no attention to herself as she wandered quietly through small-town cemeteries with her camera. Both the country settings and the heart-felt inscriptions on decaying marble heightened her imagination and triggered her creative impulses.
Accompanying the photographs are selected passages about graveyards and funerals from her fiction -- Losing Battles, The Golden Apples and Other Stories, A Curtain of Green and Other Stories, and The Optimist's Daughter -- and from her essay "Some Notes on River Country."
In the introduction Elizabeth Spencer, a Mississippi writer who has been a life-long friend of Welty's, explores the photographic images for the meanings they yield, for the light they throw onto Welty's fiction, and for her own memories of their home state's evocative graveyards and burial customs.
Eudora Welty, one of America's most acclaimed and honored writers, is the author of many novels and story collections, including The Optimist's Daughter (Pulitzer Prize), Losing Battles, The Ponder Heart, The Robber Bridegroom, and A Curtain of Green and Other Stories and two collections of her photographic work Photographs and One Time, One Place: Mississippi in the Depression (both from University Press of Mississippi).
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Eudora Welty, one of America's great storytellers, relates, in her sweetly vibrant Mississippi drawl, five of her finest stories. from the uproariously irreverent Why I Live at the P.O. and the quieter, richly perceptive A Memory and A Worn Path to sponteneous Powerhouse and the insightful voice of women's truth's in Petrified Man, Welty opens up her stories and invites the listener in.
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Thirteen outstanding short stories by Welty, written between 1937 and 1951. “Miss Welty has written some of the finest short stories of modern times” (Orville Prescott, New York Times). Selected and with an Introduction by Ruth M. Vande Kieft.
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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.
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