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Eudora Welty REVISTA ANGLO SAXONICA SER. III N. 5 2013 A NNGLO SAXO ICA ANGLO SAXONICA SER. III N. 5 2013 DIRECÇÃO / GENERAL EDITORS Isabel Fernandes (ULICES) João Almeida Flor (ULICES) Mª Helena Paiva Correia (ULICES) COORDENAÇÃO / EXECUTIVE EDITOR Teresa Malafaia (ULICES) EDITOR ADJUNTO / ASSISTANT EDITOR Ana Raquel Lourenço Fernandes (ULICES) CO-EDITOR ADJUNTO / CO-EDITORIAL ASSISTANT Sara Paiva Henriques (ULICES) REVISÃO DE TEXTO / COPY EDITORS Ana Daniela Coelho (ULICES) Helena Carneiro (ULICES) EDIÇÃO Centro de Estudos Anglísticos da Universidade de Lisboa University of Lisbon Centre for English Studies DESIGN, PAGINAÇÃO E ARTE FINAL Inês Mateus IMPRESSÃO E ACABAMENTO Várzea da Rainha Impressores, S.A. - Óbidos, Portugal TIRAGEM 150 exemplares ISSN 0873-0628 DEPÓSITO LEGAL 86 102/95 PUBLICAÇÃO APOIADA PELA FUNDAÇÃO PARA A CIÊNCIA E A TECNOLOGIA CONTENTS/ÍNDICE THEMATIC SECTION / SECÇÃO TEMÁTICA EUDORA WELTY INTRODUCTION Diana V. Almeida . .11 HOW WELTY DOESN’T CRUSADE Maria Teresa Castilho . 17 “ALL THINGS ARE DOUBLE”: EUDORA WELTY’S PRISMATIC VIEW Maria Antónia Lima . 35 ’THE WAITING ARMS OF MISSOURI’: HUMAN CONNECTIONS AND SHELTERED LIVES IN EUDORA WELTY’S THE OPTIMIST’S DAUGHTER Isabel Maria Fernandes Alves . 47 “WE NEED TO WRITE WITH LOVE”: WELTY’S POLITICAL VIEW DURING THE CIVIL RIGHTS YEARS Diana V. Almeida . .65 EUDORA WELTY: A VIEW FROM BRAZIL Tereza Marques de Oliveira Lima . 89 VERSIONS OF INSIGHT: EUDORA WELTY’S ESSAYS Jan Nordby Gretlund . 103 DEFINITELY NOT A SNAPSHOT. ON WELTY’S HELENA ARDEN Mário Avelar . 115 ESSAYS/ ESTUDOS PATHWAYS INTO THE IRISH SHORT STORY Nuala Ní Chonchúir . 127 BRITISH LITERATURE IN PORTUGUESE LITERARY EDUCATION DURING THE ESTADO NOVO Zsófia Gombár . 139 THE MISTS OF AVALON: RE-WRITING A SIBLINGS’ BOND Ana Rita Martins . 155 EARLY MODERN WOMEN’S CONCEPT OF WOMAN: THE WEAK BODY AND THE HEROIC INNER SELF Susana Paula de Magalhães Oliveira . 173 A VILLAIN AND A MONSTER – THE LITERARY PORTRAIT OF RICHARD III BY THOMAS MORE AND WILLIAM SHAKESPEARE Maria de Jesus Crespo Candeias Velez Relvas . 189 6 REVISTA ANGLO SAXONICA LESSONS FROM THE PAST: THE PANIC OF 1893 Edgardo Medeiros Silva . 203 PAINTING MYTHS WITH LITERATURE: FANTASY AS (SUB-)CREATION IN “LEAF BY NIGGLE” AND IN “ON FAIRY-STORIES”, BY J. R. R. TOLKIEN Iolanda de Brito e Zôrro . 227 REVIEWS/ RELEITURAS FRANCISCO COTA FAGUNDES ET AL. (EDS.) NARRATING THE PORTUGUESE DIASPORA. PIECING THINGS TOGETHER. NEW YORK: PETER LANG, 2011. Patricia Baubeta . 241 Notes on Contributors /Notas sobre os Colaboradores . 253 THEMATIC SECTION SECÇÃO TEMÁTICA EUDORA WELTY Introduction Diana V. Almeida University of Lisbon Centre for English Studies - CEAUL/ULICES Faculty of Letters, University of Lisbon ISSN: 0873-0628 ANGLO SAXONICA SER. III N. 5 2013 Introduction udora Welty (1909-2001) is currently considered one of the most important 20th century US writers, namely because of her remarkable Estyle, which combines deeply idiosyncratic and poetic passages with lengthy dialogues in a humorous, vernacular language accessible to the average Southern reader. Probably inspired by her photographic practice from the 1930s to the 1950s, Welty’s narratives evince an extraordinary attention to visual detail, and are structured around revelatory moments that often describe a character’s connection with her natural surroundings. This author’s prose is also characterized by an incantatory musical rhythm that at times underscores the plot’s thematic development or contributes to unveiling the characters’ intentions. Interspersing several points of view, the writer weaves a communal perspective, mostly centered on female characters but also on artists, travellers or children, leading the reader to embrace the diversity of human experience. Indeed, if there is one word that may condense this fictional universe, it would be “compassion”, with its etymological root of “feeling together”, since Welty’s “passion [is] not to point the finger in judgment but to part a curtain, that invisible shadow that falls between people, the veil of indifference to each other’s presence, each other’s wonder, each other’s human plight”, to quote her own words in the Preface to her first photographic album, One Time, One Place: Mississippi in the Depression (12). Throughout her long career, Welty wrote several uncollected short stories, three short story collections, one short story cycle, a novella, four novels, a book for children, and an autobiography (that remained for more than a year on the New York Times best seller list when it came out in 1983, the first time that happened with a book published by the Harvard UP). In addition, she was a prolific essayist and gave numerous interviews 14 REVISTA ANGLO SAXONICA to journalists and scholars from all over the world, which are collected in two volumes of the University of Mississippi Press’s Literary Conversations Series. The fact that she was the first living woman writer to be included in the prestigious Library of America collection testifies to the overwhelming appreciation her work merited. In her lifetime, Welty was distinguished with many honors, including several O. Henry Awards, the William Dean Howells medal for fiction, the Pulitzer Prize, and the PENN/Malamud Award for the Short Story, amongst others. This group of seven essays comes partially from a two-day symposium organized by ULICES in 2009, under the title Post-Racial America: Has the USA Moved Beyond the Race Issue?. The essays by Maria Teresa Castilho, Maria Antónia Lima, Isabel Maria Fernandes Alves and Diana V. Almeida were initially presented at this encounter and all more or less problematize Welty’s political involvement throughout her artistic career. Considering the author’s autobiography and her fictional texts, with an emphasis on her novels, Castilho argues that Welty dealt with the specificity of Southern female identity and refused any larger political commitment. Lima focuses on the Gothic undertone present in the author’s fiction, claiming that it masterly depicts the ambivalence and mystery at the core of life and that it cannot be associated with a Manichean political perspec - tive. Alves analyses the novel The Optimist’s Daughter, underlining on the one hand the erasure of racial tensions and on the other the important role the protagonist’s black housekeeper plays in helping her find artistic independence. Almeida engages in a close reading of the short story “The Demonstrators”, written at the height of the Civil Rights Movement, and maintains that Welty’s political view is based upon the belief that individual healing is the sole basis for a larger communal harmony. Tereza Marques de Oliveira Lima, Jan Nordby Gretlund, and Mário Avelar were later invited to write an essay on Welty and chose three very different approaches. Oliveira Lima provides a brief outline of the reception of Welty’s work in Brazil and focuses on Delta Wedding and The Optimist’s Daughter, studying the female characters in relation to Southern identity politics. Gretlund summarizes the publication history of Welty’s non- fiction and contemplates some of the current editorial options, namely the choice of just presenting the first publication date of a given text, which INTRODUCTION 15 tends to ignore and render invisible its several versions. Avelar reads Welty’s photograph Helena Arden as a parody of the advertising industry and simultaneously a self-reflexive exercise that comments on the conventions of photography and spectatorship. Works Cited Eudora Welty. One Time, One Place: Mississippi in the Depression. Jackson: UP Mississippi, 2002. How Welty Doesn’t Crusade Maria Teresa Castilho Faculty of Letters, University of Oporto ISSN: 0873-0628 ANGLO SAXONICA SER. III N. 5 2013 How Welty Doesn’t Crusade y controlling her public persona and by firmly insisting both in interviews and in her essay, “Must a Novelist Crusade?”, that her Bfiction is apolitical, Eudora Welty made many critics feel what Warren French defended in 1983 and which I think is still true today: “I think that the reason why critics have scarcely known what to make of Eudora Welty’s work is that most of them, like the writers with whom they identify, can flourish only on denunciations of the very civilization that makes their trade possible” (Thirteen Essays 125). It also seems to me that critics have had some difficulties to accept both the writer’s own point of view on what she herself wrote and on her own criticism. In 1955, in “Writing and Analyzing a Story” Welty wrote: “The story and its analysis are not mirror-opposites of each other. They are not reflections, either one. Criticism indeed is an art, as a story is, but only the story is to some degree a vision; there is no explanation outside fiction for what its writer is learning to do” (Eye of the Story 110). Furthermore, in 1980, she also wrote: I have been told, both in approval and in accusation, that I seem to love all my characters. What I do in writing of any character is to try to enter into the mind, heart and skin of a human being who is not myself. Whether this happens to be a man or a woman, old or young, with skin black or white, the primary challenge lies in making the jump itself. It is the act of a writer’s imagination that I set most high. (Collected Stories XI) On the other hand, in 1972, the writer had told Linda Kuehl in an interview: “I just think of myself as writing about human beings and I happen to live in a region, as do we all, so I write about what I know — 20 REVISTA ANGLO SAXONICA it’s the same case for any writer living anywhere. I also happen to love my particular region. If this shows, I don’t mind” (Conversations 87). It is clear that Eudora Welty wants to emphasize that neither her region alone nor the social or political problems of her “real” present life are the topics of her stories.
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