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As you have seen, I am a writer who came of a sheltered life. A sheltered life can be a daring life as well. For all serious daring starts from within.
—Eudora Welty, One Writer’s Beginnings
Volcanoes be in SicilyAnd South AmericaI judge from my GeographyVolcanoes nearer hereA Lava step at any timeAm I inclined to climbA Crater I may contemplateVesuvius at Home—Emily Dickinson, Poem #1705
The essays in this volume attest to Eudora Welty’s “daring writing life.” Recent scholarship has amply demonstrated that Welty was a writer with cosmopolitan sensibilities and progressive politics, a woman whose love of travel enabled her to maintain close friendships with artists and intellectuals throughout the world. Throughout her writing career, however, this innovative artist was known to much of the general public as “Miss Welty,” the genteel spinster who wrote her sharply tuned fiction in the upstairs bedroom of her parents’ comfortable Tudor home in Jackson, Mississippi (see, for example, Claudia Roth Pierpont’s 1998 article “A Perfect Lady” in the New Yorker). She continues to be categorized—narrowly and sometimes dismissively—as a “regionalist” writer, a white southern “lady” too polite to criticize the society she emerged from. Many have assumed that Welty’s lyricism was a ladylike celebration of her region, and that her works valorize the white privilege from which she benefited. To assume this is Welty’s intention is to misread much of her work, as more attentive readers of Welty have always known.
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