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Eudora Welty and Surrealism
Eudora Welty and Surrealismsurveys Welty's fiction during the most productive period of her long writing life. The study shows how the 1930s witnessed surrealism's arrival in the United States largely through the products of its visual artists. Welty, a frequent traveler to New York City where the surrealists exhibited and a keen reader of magazines and newspapers that disseminated their work, absorbed and unconsciously appropriated surrealism's perspective in her writing. In fact, Welty's first solo exhibition of her photographs in 1936 took place next door to New York's premier venue for surrealist art.
In a series of readings that collectively examineA Curtain of Green and Other Stories, The Wide Net and Other Stories, Delta Wedding, The Golden Apples, andThe Bride of the Innisfallen and Other Stories, the book reveals how surrealism profoundly shaped Welty's striking figurative literature. Yet the influence of the surrealist movement extends beyond questions of style. The study's interpretations also foreground how her writing refracted surrealism as a historical phenomena.
Scattered throughout her stories are allusions to personalities allied with the movement in the United States, including figures such as Salvador Dal', Elsa Schiaparelli, Caresse Crosby, Wallace Simpson, Cecil Beaton, Helena Rubinstein, Elizabeth Arden, Joseph Cornell, and Charles Henri Ford. Individuals such as these and others whom surrealism seduced often lead unorthodox and controversial lives that made them natural targets for moral opprobrium. Eschewing such parochialism, Welty borrowed the idiom of surrealism to develop modernized depictions of the South, a literary strategy that revealed not only cultural farsightedness but great artistic daring.
eBook
Eudora Welty and Postmodern Performativity
[...]exploring the ways in which many of Welty's texts enact the irrevocable shattering of authority taking place in the culture at large provides a measure of Welty's postmodernity. Few would because Welty directs the whole force of the story that unfolds toward uncovering and advertising the incalculable influence of past contexts on determining identity as the narrator experiences it in the present as well as toward the impossibility of disentangling contexts of all kinds, including those related to space, class, age, gender, and culture. [...]différance appears to operate, here, to defer not only the original name of the speaker speaking but to defer the notion of the past and collapse it into the notion of the present, categories that would seem opposed. [...]control over language seems to constantly evade her, while the pursuit of control takes on the role of a persecuting agent. Stories about acceptable conventions for feminine behavior readily yield their authority to other stories about the desired boy at school and this shabby family at the beach. [...]an allied observation about the theme of age that Welty seems intent on making seems to involve the way that the narrator, a grown-up supposedly exploring old thoughts, still has not overcome the phobias of her childhood and ultimately supplies a speech that performs a washing away of the distinction between child and adult.
Journal Article
Deposing an American Cultural Totem: Clarice Starling and Postmodern Heroism in Thomas Harris's Red Dragon, The Silence of the Lambs, and Hannibal
After surveying the extensive catalog of customer reviews on the Barnes & Noble Web site, Fuller observes the enduring popular interest of Thomas Harris' Red Dragon, The Silence of the Lambs, and Hannibal, and the profound sense of outrage and betrayal that many American readers felt after finishing the third installment in the trilogy. These vociferous rejections from readers and others proceed chiefly from their objections to Harris' treatment of Clarice Starling, the moral center and venerated hero of The Silence of the Lambs. Here, he uncovers the reasons why the Americans readers discredits Harris' novels.
Journal Article
South of South Again: Eudora Welty's Late Surreal Lament, \No Place for You, My Love\
Strong indeed but not one of her best, the story appears, it seems, as a conspicuous example of Southern gothic, and a variety of scholars have categorized her in this way, as if she were somehow William Faulkner's decidedly lesser literary sibling and imitator and Richard Wright's largely invisible cousin.1 To be sure, her name and work garner respect in many quarters, but sometimes commentators patronizingly hand down the laurels to a 'local colorisi' surely compromised because she lived for nearly her whole life in a small Southern town, Jackson, Mississippi, and because she seemed so terribly innocuous and prim, even genteel.2 This thankfully aging view, which Welty herself helped create, stubbornly persists, occluding the fundamental truth that she built a career out of confronting what her 1955 collection of short-stories, The Bride of the Innisfallen, and Other Stories, defines as the \"wildness of the world behind the ladies' view\" (575).
Journal Article
HYPNOTIZED LIKE SWAMP BUTTERFLIES IN DELTA WEDDING (1946)
Virginia Woolf’s spirit permeates almost every page ofDelta Wedding. Laboring to transform a long short story, “Delta Cousins,” into her first full-length novel,¹ Welty drew technical and thematic inspiration from Woolf—particularly fromTo the Lighthouse, a novel Welty claimed “opened the door” and so astonished her when she first read it that she “couldn’t sleep or eat” (Kuehl 75). Welty deeply venerated Woolf, a passion that John Crowe Ransom detected in his review ofDelta Wedding, where he claimed that Welty “resembles Virginia Woolf more than does any other novelist of my acquaintance” (504). This assessment was later
Book Chapter
THE PERSISTENCE OF A MEMORY IN A CURTAIN OF GREEN AND OTHER STORIES (1941)
Whether surveying André Breton’s multiple codifications, Salvador Dalí’s renovation of Breton, or Julien Levy’s synthesis of both, surrealism—in any of its forms, European or American—never abandoned its commitment to the invention and promotion of new knowledge. The innovation of psychoanalysis acted as guarantor and as collateral securing surrealism’s project, which found expression in a diverse array of media. The movement’s attempt to rupture the purely rational and conscious hold that positivism exercised over philosophy produced new varieties of art that widened the epistemological gaze. While the surrealist project in France frequently risked fragmentation¹ under the pressure of competing
Book Chapter
AMONG ARTISTIC LEADERS
This study began by situating itself in the context of oversight, particularly by American and British academics who studied modernism and modernist figures through interpretive structures, which minimized and/or excluded the achievements of many writers. Even so, Welty fared better than many women, not least because she came from a country with a respectable literary past that produced cosmopolitans par excellence, among them Ezra Pound, T. S. Eliot, and Gertrude Stein, and wrote in a way amenable to critics with formalist priorities. Then came “theory” that by the 1990s, according to Susan Stanford Friedman, left the study of modernism
split
Book Chapter