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Eudora Welty (1909–2001)

Författare till Optimistens dotter

99+ verk 13,714 medlemmar 238 recensioner 81 favoritmärkta

Om författaren

Eudora Welty was born in Jackson, Mississippi on April 13, 1909. She was educated at the Mississippi State College for Women in Columbus, Mississippi, and at the University of Wisconsin. She moved to New York in 1930 to study advertising at the Columbia University business school. After her visa mer father's death, she moved back to Jackson in 1931. She held various jobs on local newspapers and at a radio station before becoming a publicity agent for the Works Progress Administration (WPA), part of Franklin Roosevelt's New Deal program. Travelling through the state of Mississippi opened her eyes to the misery of the great depression and resulted in a series of photographs, which were exhibited in a one-women show in New York in 1936 and were eventually published as One Time, One Place: Mississippi in the Depression in 1971. She stopped working for the WPA in 1936. Her first stories, Magic and Death of a Travelling Salesman, were published in small magazines in 1936. Some of her better-known short stories are Why I Live at the P.O., Petrified Man, and A Worn Path. Her short story collections include A Curtain of Green, The Golden Apples, The Wide Net and Other Stories, and The Bride of Innisfallen and Other Stories. Her first novel, The Robber Bridegroom, was published in 1942. Her other novels include Delta Wedding, The Ponder Heart, Losing Battles, and The Optimist's Daughter, which won the Pulitzer Prize in 1972. She received the gold medal for fiction from the National Institute of Arts and Letters in 1972. Her nonfiction works include A Snapshot Album, The Eye of the Storm: Selected Essays and Reviews, and One Writer's Beginnings. She died from complications following pneumonia on July 23, 2001 at the age of 92. (Bowker Author Biography) visa färre
Foto taget av: Eudora Welty

Verk av Eudora Welty

Optimistens dotter (1972) 2,621 exemplar
One Writer's Beginnings (1983) 1,719 exemplar
Bröllop i Mississippi : roman (1946) 991 exemplar
Losing Battles (1970) 696 exemplar
The Ponder Heart (1954) 582 exemplar
The Robber Bridegroom (1942) 497 exemplar
The Golden Apples (1947) 439 exemplar
Thirteen Stories (1965) 419 exemplar
En ridå av grönska (1941) 372 exemplar
On Writing (Modern Library) (2002) 208 exemplar
Eudora Welty Photographs (1989) 155 exemplar
Why I Live at the P.O. (1995) 132 exemplar
The Wide Net And Other Stories (1974) 104 exemplar
The Norton Book of Friendship (1991) 95 exemplar
Country Churchyards (2000) 49 exemplar
The Shoe Bird (1964) 37 exemplar
Moon Lake [short story] (2011) 31 exemplar
Some Notes on River Country (2003) 31 exemplar
A Worn Path (1991) 22 exemplar
Moon Lake and Other Stories (1777) 16 exemplar
On William Faulkner (2003) 16 exemplar
Eudora Welty Reads (1998) 10 exemplar
Early Escapades (2005) 7 exemplar
Clytie 6 exemplar
Petrified Man (2014) 5 exemplar
Occasions: Selected Writings (2009) 5 exemplar
Eudora Welty, Other Places (1995) 3 exemplar
Lily Daw and the Three Ladies (1972) — Författare — 3 exemplar
On Short Stories 3 exemplar
Acrobats in a Park. (1980) 2 exemplar
Atlantic Monthly 2 exemplar
L'homme petrifie : nouvelles (1992) 2 exemplar
Fictions (2000) 2 exemplar
Powerhouse 2 exemplar
Os Melhores Contos 2 exemplar
The Faulkner Investigation (1985) 2 exemplar
Wide Net, the (1943) 1 exemplar
Delta Wdding 1 exemplar
Złote jabłka 1 exemplar
A Writer's Life 1 exemplar
Four Photographs 1 exemplar
A Visit of Charity 1 exemplar
The Little Store 1 exemplar
Three Papers on Fiction (1962) 1 exemplar
Place in Fiction 1 exemplar
[No title] 1 exemplar

Associerade verk

Mot fyren (1927) — Inledning, vissa utgåvor17,491 exemplar
The Best American Short Stories of the Century (2000) — Bidragsgivare — 1,552 exemplar
Death of a Salesman [critical edition] (1967) — Bidragsgivare — 1,254 exemplar
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Bidragsgivare, vissa utgåvor915 exemplar
The Best American Essays of the Century (2000) — Bidragsgivare — 774 exemplar
The Oxford Book of American Short Stories (1992) — Bidragsgivare — 743 exemplar
Short Story Masterpieces (1954) — Bidragsgivare — 675 exemplar
The Oxford Book of Gothic Tales (1992) — Bidragsgivare — 536 exemplar
The Oxford Book of Short Stories (1981) — Bidragsgivare — 510 exemplar
Great American Short Stories (1957) — Bidragsgivare — 493 exemplar
The World of the Short Story: A 20th Century Collection (1986) — Bidragsgivare — 461 exemplar
Points of View: Revised Edition (1966) — Bidragsgivare — 411 exemplar
Cries of the Spirit: A Celebration of Women's Spirituality (2000) — Bidragsgivare — 370 exemplar
The Granta Book of the American Short Story (1992) — Bidragsgivare — 368 exemplar
Women & Fiction: Short Stories By and About Women (1975) — Bidragsgivare — 365 exemplar
The Portable Sixties Reader (2002) — Bidragsgivare — 324 exemplar
The Best of Modern Humor (1983) — Bidragsgivare — 291 exemplar
A Treasury of Short Stories (1947) — Bidragsgivare — 291 exemplar
100 Years of the Best American Short Stories (2015) — Bidragsgivare — 282 exemplar
The Treasury of American Short Stories (1981) — Bidragsgivare — 267 exemplar
Voyage of the Sable Venus and Other Poems (2015) — Omslag — 219 exemplar
The New Granta Book of the American Short Story (2007) — Bidragsgivare — 211 exemplar
We Are the Stories We Tell (1990) — Bidragsgivare — 193 exemplar
Murder & Other Acts of Literature (1997) — Bidragsgivare — 147 exemplar
An Anthology of Famous American Stories (1953) — Bidragsgivare — 137 exemplar
The Mammoth Book of Modern Ghost Stories (2007) — Bidragsgivare — 133 exemplar
Mistresses of the Dark [Anthology] (1998) — Bidragsgivare — 121 exemplar
The Signet Classic Book of Southern Short Stories (1991) — Bidragsgivare — 121 exemplar
Downhome: An Anthology of Southern Women Writers (1995) — Bidragsgivare — 115 exemplar
Granta 115: The F Word (2011) — Bidragsgivare — 113 exemplar
Magical Realist Fiction: An Anthology (1984) — Bidragsgivare — 111 exemplar
The Literature of the American South: A Norton Anthology (1997) — Bidragsgivare — 98 exemplar
The Granta Book of the American Long Story (1822) — Bidragsgivare — 98 exemplar
American Short Stories (1976) — Bidragsgivare, vissa utgåvor95 exemplar
Skin Deep: Black Women and White Women Write About Race (1602) — Bidragsgivare — 90 exemplar
Stories from The New Yorker, 1950 to 1960 (1958) — Bidragsgivare — 80 exemplar
Ten Modern Masters: An Anthology of the Short Story (1953) — Bidragsgivare, vissa utgåvor74 exemplar
The Heath Anthology of American Literature, Concise Edition (2003) — Bidragsgivare — 68 exemplar
200 Years of Great American Short Stories (1975) — Bidragsgivare — 68 exemplar
Step Right Up: Stories of Carnivals, Sideshows, and the Circus (2004) — Bidragsgivare — 51 exemplar
Art of Fiction (1967) — Bidragsgivare — 51 exemplar
O. Henry Memorial Award Prize Stories of 1943 (1943) — Bidragsgivare — 48 exemplar
Masters of the Modern Short Story (1945) — Bidragsgivare — 46 exemplar
Southern Dogs and Their People (2000) — Bidragsgivare — 39 exemplar
New Orleans Noir 2: The Classics (2016) — Bidragsgivare — 37 exemplar
The Signet Book of American Essays (2006) — Bidragsgivare — 36 exemplar
The Secret Self: A Century of Short Stories by Women (1995) — Bidragsgivare — 33 exemplar
Birds in the Hand: Fiction and Poetry about Birds (2004) — Bidragsgivare — 32 exemplar
Hot and Cool: Jazz Short Stories (1990) — Bidragsgivare — 30 exemplar
The Second Penguin Book of Modern Women's Short Stories (1997) — Bidragsgivare — 27 exemplar
American short stories, 1820 to the present (1952) — Bidragsgivare — 26 exemplar
The Seas of God: Great Stories of the Human Spirit (1944) — Bidragsgivare — 25 exemplar
Studies in Fiction (1965) — Bidragsgivare — 22 exemplar
The Robber Bridegroom (1978) 18 exemplar
Modern American Short Stories (1945) — Bidragsgivare — 15 exemplar
Mississippi Writers: An Anthology (1991) — Bidragsgivare — 14 exemplar
The Best American Short Stories 1955 (1955) — Bidragsgivare — 13 exemplar
Story to Anti-Story (1979) — Bidragsgivare — 13 exemplar
A Portrait of Southern Writers: Photographs (2000) — Bidragsgivare — 13 exemplar
Twenty-Nine Stories (1960) — Bidragsgivare — 13 exemplar
Stories of Initiation. (Lernmaterialien) (1978) — Bidragsgivare — 12 exemplar
31 Stories (1960) — Bidragsgivare — 12 exemplar
The Best American Short Stories 1943 (1943) — Bidragsgivare — 11 exemplar
Inward Journey (1987) — Bidragsgivare — 11 exemplar
The Penguin New Writing No. 36 (1949) — Bidragsgivare — 11 exemplar
The best of the Best American short stories, 1915-1950 (1975) — Bidragsgivare — 10 exemplar
The Caedmon Short Story Collection (2001) — Bidragsgivare — 8 exemplar
Open Secrets (1972) 8 exemplar
O. Henry Memorial Award Prize Stories of 1941 (1941) — Bidragsgivare — 7 exemplar
Time to Be Young: Great Stories of the Growing Years (1945) — Bidragsgivare — 7 exemplar
Twenty-Three Modern Stories (1963) — Bidragsgivare — 4 exemplar
The College Short Story Reader (1948) — Bidragsgivare — 2 exemplar
Enjoying Stories (1987) — Bidragsgivare — 2 exemplar
Modern Short Stories — Bidragsgivare — 1 exemplar
The Avon Annual 1945: 18 Great Modern Stories (1945) — Bidragsgivare — 1 exemplar
Whole Pieces (1990) — Bidragsgivare — 1 exemplar
Stories of Sudden Truth (1953) — Bidragsgivare — 1 exemplar
The Ethnic Image in Modern American Literature, 1900-1950 (1984) — Bidragsgivare — 1 exemplar
15 Great Stories of Today (1946) — Bidragsgivare — 1 exemplar

Taggad

Allmänna fakta

Namn enligt folkbokföringen
Welty, Eudora Alice
Födelsedag
1909-04-13
Avled
2001-07-23
Begravningsplats
Greenwood Cemetery, Jackson, Mississippi, USA
Kön
female
Nationalitet
USA
Födelseort
Jackson, Mississippi, USA
Dödsort
Jackson, Mississippi, USA
Bostadsorter
Jackson, Mississippi, USA
Utbildning
Mississippi State College for Women (Mississippi University for Women)
University of Wisconsin (BA|1929)
Columbia University Graduate School of Business (1930-31)
Yrken
novelist
short-story writer
photographer
publicity agent
reporter
lecturer (visa alla 7)
teacher
Relationer
Porter, Katherine Anne (friend)
Aswell, Mary Louise (friend|correspondent)
Organisationer
American Academy of Arts and Letters ( [1952])
Fellowship of Southern Writers (charter member)
Works Progress Administration
The New York Times
Harvard University (lecturer)
Junior League of Jackson (visa alla 7)
Bread Loaf Writers' Conference
Priser och utmärkelser
Presidential Medal of Freedom (1980)
National Medal of Arts (1986)
National Book Foundation Medal (1991)
Peggy V. Helmerich Distinguished Author Award (1991)
Rea Award for the Short Story (1992)
PEN/Malamud Award for the Short Story (1992) (visa alla 20)
Charles Frankel Prize (1993)
Distinguished Alumni Award (American Association of State Colleges and Universities ∙ 1993)
Chevalier de l'Ordre des Arts et des Lettres (1987)
Cleanth Brooks Medal for Lifetime Achievement (1991)
Chevalier de la Légion d’honneur (1996)
America Award (2000)
National Institute of Arts and Letters Gold Medal (1972)
Edward MacDowell Medal (1970)
National Medal for Literature (1980)
Common Wealth Award (1984)
Order of the South
National Women's Hall of Fame (2000)
National Humanities Medal (1992)
First living author published in the Library of America series

Medlemmar

Diskussioner

Delta Wedding Group Read - Discussion Thread i 75 Books Challenge for 2022 (november 2022)
October 2014: Eudora Welty i Monthly Author Reads (oktober 2014)
Eudora Welty- American Author Challenge i 75 Books Challenge for 2014 (juli 2014)

Recensioner

Laurel returns to her small Mississippi town from Chicago in time for her father to die after eye surgery. Her own husband died in the war a year earlier. Her mother has been dead for years after going blind.

Her father's clueless and stupidly cruel second wife, Fay, is Laurel's age. While Laurel embraces the past, her family's past, Fay shuns it. "The past isn't a thing to me. I belong to the future, didn't you know that?" The future doesn't look good to Laurel. She returns to Chicago after burning her mother's letters, her past life gone.… (mer)
 
Flaggad
Hagelstein | 91 andra recensioner | Jan 26, 2024 |
This is a collection of Welty's public writings about Faulkner, including a review of Intruder in the Dust; a deliciously wrathy letter to Edmund Wilson, who had critiqued the same novel with blinkers on, in her view ("there's such a thing as a literary frame of reference that isn't industrial New York City in 1948" she points out); a memorial tribute written for the Associated Press news service when Faulkner died; and some lectures and speeches. Lordy, I love this lady. She is right up there at the top of my list of people I wish I could sit down and talk to. And I'm pretty sure if she lived down the road, I could sit down and talk to her. She comes across as warm, witty, gracious, possessed of an intelligence I could learn from, totally lacking in Attitude but not about to take a lot of nonsense either. And, of course, she loves Faulkner the way I do...not academically, but like a slightly surly uncle who nevertheless tells terrific stories and sees things the rest of us would miss if not for him. She also reviewed a collection of Faulkner's Selected Letters. After pointing out that Faulkner would have hated the idea, but accepted the inevitability, of their publication, Welty dealt a bit with the content and the chronological presentation of the letters Joseph Blotner included in the chunky volume (there it sits, right on the shelf at the top of my desk). But then she wrote a paragraph that exemplifies why I do love her so. She said:
"No man ever put more of his heart and soul into the written word than did William Faulkner. If you want to know all you can about that heart and soul, the fiction where he put it is still right there. The writer offered it to us from the start, and when we didn't even want it or know how to take it and understand it; it's been there all along and is more than likely to remain. Read that."
Reviewed 2017
… (mer)
 
Flaggad
laytonwoman3rd | 2 andra recensioner | Dec 20, 2023 |
I absolutely loved this inspiring memoir---it's a keeper, for sure! I remember reading, "Why I Live at the PO" in high school and it was really fun and encouraging to read her perspectives on how her life influenced her writing. I love how she deconstructed the conversations and experiences of her childhood to see how they shaped her as a writer. My own has done the same for me...as has all other writers', I assume.

I liked how she talked about listening for stories. When I'm traveling I'm LOOKING for stories. Just another great reminder of the importance of carrying a journal to record experiences as they happen. About two-thirds into the book, I ordered a book of her short stories. I'm looking forward to reading more!

My favorite quote came from page 57: "Emotions do not grow old." I read this book while my husband and I were on a visit to Oregon to visit his father. He has a terminal illness and we both knew this very likely could be the last time we'd see him. This quote made me think of Leo and how, though his body is dying, his love for his family is very much alive. I hope I always remember the proud look he had and the shine in his eyes as he introduced my husband to his nurses, "Yes, this is my son." He was so excited and surprised to see my husband show up in the hospital---he didn't know we were coming. There was laughter, tears, frustrations, joys, and more the few days we spent with him---all very real emotions from a family who very much loves and respects their father. I love this quote. It will always make me think of Leo.
… (mer)
 
Flaggad
classyhomemaker | 24 andra recensioner | Dec 11, 2023 |
Had a dreamy quality that I enjoyed. The atmosphere was kind of beautiful and the descriptions were great and the scenes felt real. I liked it.

Weird/bad points: there was pretty much no conflict involved in the book even though quite a bit was set up, which was bizarre. For example, there are constant references to Troy's seeming unsuitability as a husband but nothing comes of it - and there's not really much explanation of WHY people talk about him as unsuitable. Near the end, Shelley witnesses him apparently shooting a black worker who's threatening him with a knife. The scene lasts maybe a page and she says it shows some sort of extreme unsuitability, but the event is never referenced again and Shelley makes no further comments about Troy, in thought or otherwise. The event itself is incredibly confusing and I have no idea what went on. Weird. There are a couple other similar scenes, which presumably have deeper implications or ones which aren't the obvious but aren't referenced again and don't seem to have an impact - George talking about "sleeping with" the vagrant girl Ellen finds in the woods - Ellen seems shocked but again nothing else happens, it doesn't affect their relationship and the girl is referenced once again in an ambiguous context. There are several times the author seems to be describing some sort of romantic tension between George and other people but maybe I'm reading too much into it. Every character is prone to going into deep reflection at every opportunity, which is pretty ridiculous but adds to the dream like quality of the book and really wasn't bad. There are a lot of named characters that it's impossible to keep track of and don't really have a point.

Bigger things: I note an event re: violence above - violence is treated as tainting someone in this one case. Yet Battle beating children happens often and is treated incredibly casually. He also threatens extreme violence casually and the one reference to this plays it off as a "oh haha our Battle!!" thing.
None of the Fairchilds are ever shown engaging in any work. Yet at the end of the book several describe how "draining" and "tiring" the wedding has been. The disconnect between words and experience is noticeable. The only reason I can see Troy being unsuitable, in fact, is in his job as an overseer - in doing their work, the work of the plantation owner running their lands, he's somehow "unclean". His presence impinges on the "paradise" of the Fairchilds' life - they have no experience of the reality of where their (obviously absolutely massive) income comes from. The thing is, this theme is hardly developed and shows mostly in omission, making me curious how the author felt about this.
The black workers have very little presence, even though they should be a constant presence around the house as domestic servants. The scenes that feature them show them as personality-less - they just obey orders happily - with 2 exceptions. Right at the end of the book, one says they don't like roses. This upsets Ellen, although we're not given much more than that. One character is visited at her house to ask about something lost and the Fairchilds who visited treat her vaguely dramatic searching as malicious - the one example of personality is shunned and considered bad.
In fact, I could think of only two other instances of things being treated as malicious or wrong in the book - the first is the mentally disabled preteen Maureen (who is referred to in rude terms) and the other is George's wife Robbie, who is again considered "unsuitable" but especially for leaving him when she feels hurt. Their real crime seems to be that they disturbed in some way the Fairchilds' untroubled existence.
I don't know if my view of the Fairchilds as horrible people who live an incredibly happy life merely by ignoring or shunning things that disturb it is an unreasonable one, but to me it was the only one that made sense and still let me enjoy the book.
… (mer)
 
Flaggad
tombomp | 22 andra recensioner | Oct 31, 2023 |

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Hermione Lee Introduction
Luca Briasco Preface
Simona Fefè Translator
Bascove Cover artist
Sally Darling Narrator
Samuel A. Shute Cover artist
Paul Binding Introduction
Henry Church Cover artist
Helen McNeil Introduction
Joe Krush Illustrator
Barry Moser Illustrator
Senta Berger Narrator

Statistik

Verk
99
Även av
94
Medlemmar
13,714
Popularitet
#1,692
Betyg
3.8
Recensioner
238
ISBN
263
Språk
12
Favoritmärkt
81

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