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Weston writes that a \"recognition of aesthetic similarities between Welty's fiction and the visual arts is not an attempt to draw fines of direct influence but rather to say that hers is a poetics as much of space and motion, of shape and color, as of language\" (66). With their broad appeal to the masses and their affordability due to the introduction of the printing press, Books of Hours similarly contain both \"fine\" and \"folk\" art, depicting the everyday fives of common people in combination with the \"fine art\" of the sacred themes.

[...]even with the challenges she faces as an elderly African American woman, Phoenix successfully achieves her goal in the story, negotiating both nonhuman and human communities. [...]for Welty, place is not about standing still but movement, the figure walking across her line of sight in the distance.

A map from the Appalachian Regional Commission shows counties from thirteen states selected to receive special help from the federal government due to extreme poverty and lack of opportunity in the region (\"Appalachian Region\"). Since the hill country bordering Alabama to the east and Tennessee to the north is the setting for Welty's novel Losing Battles, I realized that, according to some definitions, Welty had written an Appalachian novel, or at least an \"Upland South\" novel. The Congress hereby finds and declares that the Appalachian region of the United States, while abundant in natural resources and rich in potential, lags behind the rest of the Nation in its economic growth and that its people have not shared properly in the Nation's prosperity. [...]Julia Mortimer has her own lessons to learn. Gloria still must learn, even as an \"orphan,\" that the threads of her existence are deeply intertwined with the community, for better and for worse. Since moving to Appalachia, I have learned to revise my own literary, historical, and cultural maps, imposing new boundaries and questioning long held notions of \"region.\"

Claxton profiles painter Georgia O'Keeffe and discusses how she and writer Eudora Welty explore issues of gender and sexuality through the portrayal of nature in their works. They employ conventional subject matter for women, flowers and gardens, to create complex texts. Placing O'Keeffe's paintings next to Welty's stories helps readers understand how these two important artists pushed their work beyond conventional borders.

[...]Welty, although born in Jackson, grew up with an outsider's perspective. [...]it was part of her indoctrination into \"doing what was proper\" (127). Since she is writing a memoir, Watkins does not try to write from another person's point of view. [...]silence, hearing, and speaking become important narrative strategies in The Help as well.