The reviews in this volume are reprinted in full except where the review was a round-up or an essay-review of several titles. In those cases ellipses indicate where material irrelevant to the review of Welty’s book is left out. The reprinted reviews are arranged according to the chronology of their publication. All known reviews not reprinted here are listed under “Checklist of Additional Reviews” for each publication, the anonymous reviews listed chronologically and the authored reviews alphabetically. Included in the checklists are brief notices, editor’s choice lists, paperback printings, etc., as well as reviews with readings similar to the ones expressed in the reprinted reviews. I have distinguished between reviews and essays that are more or less analytical pieces written by academics and published in scholarly journals; the latter I have not included here. I have made every effort to read and verify the information for all the reviews included in one way or another in this collection. However, some details, of course, eluded my sleuthing. Reviews without complete publication information can be located in the Eudora Welty Collection at the Mississippi Department of Archives and History.
In her short story “A Worn Path”, Eudora Welty communicates this timeless theme through the protagonist, Phoenix, who has traveled this path many times.
was written by Eudora Welty in 1941.
More than a thousand book reviews have analyzed, assessed, and/or promoted Eudora Welty’s nineteen titles published between 1941 and 2000. Some two hundred are reprinted in this selected collection, followed by a checklist of additional reviews for each publication. The selected reviews represent the opinions of professional reviewers, writers, readers, and academics. I chose reviews that would illustrate a variety of opinions without showing my personal prejudice for the texts under scrutiny and without ranking the reviews as positive or negative. A conscious effort is made to demonstrate how one particular reviewer or publisher maintained or varied his or her judgment of the writing as Welty’s career developed. I selected reviews that show both the trends and the idiosyncrasies of reviewers’ assessments. I have aimed to present a diversity of opinions from various media, from rural and urban, and from various geographical areas. Typographical errors such as misspellings are silently corrected; however, reading errors, such as misidentifying a place or character, are retained because such errors can tell us about the reception and reading of a book. In all cases I intend that my selections will encourage the rereading of Welty’s writing for the formation of further analysis, criticism, and enjoyment.
Eudora Welty One Writers Beginnings Analysis Essay
I thank also Eudora Welty for her generosity of friendship in the early stages of this project and Tom McHaney for his kindness, encouragement, and love.
Eudora Welty s writing style Essay - 1204 Words
I am appreciative also of the Interlibrary Loan staff at the Georgia State University Library, especially Marjorie Patterson and Maggie McMillan, who obtained copies of hundreds of reviews for me. Beginning in the 1960s, Eudora Welty began donating her papers to the Mississippi Department of Archives and History. Hank Holmes, director of the MDAH, and Forrest W. Galey, custodial curator of the Welty Collection, not only gave valuable assistance, but also offered friendly encouragement. I benefited also from the analyses of Welty’s short fiction by W. U. McDonald, Jr., Diana Pingatore, and Carol Ann Johnston. I am much indebted to Welty scholars Hunter M. Cole, Suzanne Marrs, Noel Polk, Bethany Swearingen, and Victor H. Thompson for the extensive Welty bibliographies they have published. Their work in identifying and cataloguing the majority of the reviews made my reading and selection possible.
The Eudora Welty Foundation » Biography
Welty’s final book before her death in 2001, (2000), gathered significantly less notice than did her first story collection in 1941. Her involvement in assembling this book was minimal, but her photographs of churches and gravestones taken in the 1930s were supplemented with selected texts from the 1940s to the 1970s and were introduced by her friend and fellow writer Elizabeth Spencer. The reviewers of responded with the nearly clichéd “delight,” but also noted that Welty’s photographs could be analyzed as documents of memory.
Eudora Welty Foundation Scholar-in-Residence, Millsaps College
We can now see that was the final creative writing that Welty was to publish. Her remaining projects were retrospective; all were organized by their publishers and essentially edited by others. Welty helped to select the images for (1989), provided information about them, and gave a long, informative interview that began the book. The collection complemented Welty’s fiction and demonstrated her vision and empathy for people. The reviewers raised excellent questions about why so many of Welty’s subjects were black women, and why so few were white. How did these snapshots from the 1930s resonate with the FSA photographs by Walker Evans, Margaret Bourke-White, and Dorothea Lange? What might be understood about artists who cross genres, painters who photograph as well as writers who do so?