This was an absolute brick and I'd like for you to clap that I finished it.

To be honest, it was a real struggle for me to get through this. There were moments when I was completely engrossed in the stories, finding them superb and captivating. However, there were also long stretches where I felt incredibly bored.

Some stories had me spending 25 pages feeling uninterested, only to be hit with the most devastating and beautiful paragraph that made me question if those boring pages were worth it. I'm still not entirely sure.

From a racism perspective, there was a lot that made me cringe. I couldn't quite figure out how Welty felt about it. At times, I felt like she was highlighting the bad behavior of white people, while at other times, it just made me uncomfortable.

Anyway, despite all the challenges and uncertainties, I managed to finish it. And for that, I deserve a little bit of recognition.

All the stories are truly remarkable keepers, and among them, my personal favorites stand out.

There is "Keela, the Outcast Indian Maiden," which likely tells a tale of a young girl's struggles and her journey to find acceptance in a society that has shunned her.

"A Curtain of Green" might paint a vivid picture with its title, perhaps hinting at a story filled with lush imagery and a touch of mystery.

"Old Mr. Marblehall" could be a charming account of an elderly man's life, with his unique character and experiences.

"Why I Live at the P.O." piques the curiosity, making one wonder about the reasons behind the narrator's unusual living situation.

"First Love" is a classic theme that always has the potential to tug at the heartstrings, exploring the innocence and intensity of that initial romantic encounter.

"A Wide Net" might suggest a story about catching more than one bargained for, whether it be love, adventure, or something else entirely.

"Lily Daw and the Three Ladies" sounds like a tale of female friendship and the various dynamics that unfold within it.

"A Worn Path" could be a metaphorical journey, perhaps representing the challenges and perseverance of the protagonist.

"Music from Spain" might bring a touch of the exotic, with its title evoking the sounds and culture of that beautiful country.

These stories have the power to transport readers to different worlds and touch their hearts in unique ways.

This woman should have won a Nobel Prize.

In my alternate reality, where things go the way I want them to go, she won in 1981. Forget Elias Canetti.

She was a remarkable individual, with a mind that was as sharp as a razor and a heart full of compassion. Her work had a profound impact on the field she was in, and yet, for some reason, she was overlooked by the Nobel Committee.

It's a travesty, really. If only they could have seen the true value of her contributions. Maybe then, she would have received the recognition she so richly deserved.

But in this alternate reality of mine, justice was served. She walked onto that stage in Stockholm, her head held high, and accepted the Nobel Prize with grace and dignity. It was a moment of triumph for her, and for all those who had believed in her.

And as I watched her from the sidelines, I couldn't help but feel a sense of pride. Because in my world, this amazing woman finally got the credit she was due.

The richness of such talent resists a summing up... Maureen Howard's blurb on the back of this collection seems rather obvious. With forty-one stories written over about thirty years, it's no wonder they defy easy summation. But perhaps I'm being too hard on Ms Howard. After all, any quote on a book's back cover is taken out of context. And in fact, I'm twisting her words. She doesn't claim the stories resist summary but rather that Welty's talent can't be pigeonholed. And she's so right. The range of these stories is truly remarkable. Not only is there diversity in plot, character, and voice, but also in genre. It goes from high comedy in "Why I live at the P.O." to poignant desolation in "Death of a Traveling Salesman", from whimsical pastiche in "Asphodel" to gritty social realism in the final two stories. Welty is indeed a writer who can't be summed up easily. If there's a unifying element in these magnificent stories, it might be the oblique, indirect style. Some stories might even be called mystifying. Few allow the reader to fully enter a character's mind and feel with them. Welty keeps us at a slight distance, always on guard. Perspective fades and shimmers, the surface dissolves into liquid depths. Often, it's unclear if it's fantasy or the real world, workaday or myth, fairy tale or the family next door. Maybe that's how to sum up Ms Welty: she never has the arrogance to believe she knows. She observes, imagines, and invents. But the essential mystery remains.

This collection of stories by Welty is a true treasure trove, offering a wide variety of experiences and perspectives. Each story is like a unique gem, shining with its own light and charm. Whether it's the humorous antics in "Why I live at the P.O." or the heart-wrenching sadness in "Death of a Traveling Salesman", Welty's writing draws the reader in and keeps them engaged until the very end.

The oblique style she employs adds an air of mystery and intrigue to the stories. It makes the reader work a little harder to understand the characters and their motives, but it also makes the reading experience all the more rewarding. By keeping us at a distance, Welty forces us to observe and think for ourselves, rather than simply spoon-feeding us the answers.

Overall, this collection is a must-read for anyone who loves great literature. It showcases Welty's incredible talent and versatility as a writer, and it will leave you with a deeper appreciation for the art of storytelling.

In some of her stories, Welty's remarkable adeptness at immersing you into a character's frame of mind is truly spellbinding. She achieves this while also deftly providing backstory through engaging dialogue.

For instance, in "Why I Live at the P.O.," we meet Sister, the unappreciated member of the family who is paranoid that everyone is turning someone against her. The dialogue, like Papa-Daddy's rant to Uncle Rondo, gives us a vivid insight into Sister's world.

In most of her stories, Welty employs similes and personification to create rich imagery. However, in some cases, like in "The Whistle," it seems as if the story drowns in these literary devices. Yet, her prose is often so vivid, especially at the beginnings of stories like "The Key," that it draws you into a world of mystery and satire.

My collection consists of four volumes. Strangely enough, I found myself most enjoying Welty's first collection from 1941, "A Curtain of Green And Other Stories." The short, sweet, and sensational lyrical prose in this collection is truly a delight. On the other hand, "The Wide Net" from 1943 was my least favorite, as it failed to leave a lasting impression.

Overall, Welty's works offer a diverse range of literary experiences, with her unique writing style captivating readers in different ways.

I've been engaged in working on this remarkable collection that encompasses all 41 of Welty's published stories for well over a year. I've painstakingly read a significant portion of its more than 500 pages, with the exception of the connected stories within The Golden Apples. Composed from the 1930s to the 1960s, a great number of Welty's stories vividly depict a portrait of life in her Mississippi homeland during that era.

I'm truly glad to have delved deeper into the work of this renowned author. However, a substantial part of it proved to be rather challenging for me to establish a connection with. Nevertheless, the most gratifying aspects were Welty's Preface from 1980 and the Introduction penned by Ann Patchett in 2019, which was later reprinted in Patchett's 2021 collection, These Precious Days.

These two pieces provided valuable insights and a deeper understanding of Welty's writing process and the context in which her stories were created. They added an extra layer of depth and richness to my exploration of her work, making the entire experience even more worthwhile.

No one is more surprised than me that I'm bailing just over halfway through this mammoth collection. I have an absolute worship for Welty's novel Delta Wedding. However, I detested almost all of the stories I read, and I actually read more than 25. But for a few classic ones early on in the book, such as Why I Live at the P.O, they left me cold, confused, or mind-numbingly bored.

I'm so glad to give up now rather than trudge my way through to the end. I understand that many people take a liking to her short fiction. But, you couldn't pay me to read another Eudora Welty short story as long as I live. It seems that her short stories just don't click with me. Maybe it's my personal taste, or perhaps I'm just not in the right frame of mind to appreciate them.

Nevertheless, I can't deny the fact that Welty is a highly regarded author. Her writing style is unique, and her characters are often complex and well-developed. Maybe I'll give her another chance in the future, but for now, I'm content with moving on to other books.

Martin Scofield, in The Cambridge Introduction to the American Short Story, Chapter 17, states that from the 1920s to the 1950s, there was a remarkable flourishing of the Southern short story in the works of three writers: Katherine Anne Porter (1890–1980), Eudora Welty (1909–2001), and Flannery O'Connor (1925–64).

I have a great affection for Flannery O’Connor’s collection. Her stories are like precious gems that draw you in and make you think deeply.

Katherine Anne Porter’s collection is next on my reading list, and I am eager to explore her works.

Eudora Welty’s collection reveals her highly acclaimed talent for creating a vivid sense of place. However, for my taste, too often her stories lack strong opening hooks and progress at a rather slow pace. Nevertheless, I have come to appreciate her storytelling ability through these three stories.

“Powerhouse” immerses us in the inner workings of a Black band in a juke joint. The characters and dialogues are so real that we feel completely engaged.

“June Recital” allows us to see and hear through the eyes and ears of a malaria-quarantined boy who spies on the happenings at the once glorious but now dilapidated and abandoned house next door. The story weaves back and forth in time, into the lives of an old maid piano teacher, a preternatural student, and the boy’s older sister. The description of a long-ago piano recital is truly remarkable.

“No Place for You, My Love” takes us on a road trip in an old red convertible with a couple who just met in a Bourbon Street bar. They are far from home, alone in the city, staying in different hotels, married but not to each other, and either knowingly or unknowingly seeking love. Their seemingly random path south in the mosquito-ridden summer heat leads them along shanty roads, levees, and ferries, until they reach the shrimp boat shores and a dance hall where a turning point occurs.

Overall, my rating for Eudora Welty’s collection is a high three stars.

I can't say that I read every single one of the stories in this book. However, I read a sufficient number of them

In a contemporary era where 800+ page novels seem to be the norm and meticulous editing appears to have become a forgotten art, Eudora's short stories stand out as truly counter cultural.

She has an extraordinary ability to convey profound meanings and emotions within just 300 - 500 words, something that most writers struggle to achieve even in 300 - 500 pages. It is evident that in her case, less is most definitely more.

I vividly remember the first time I had the pleasure of reading one of her captivating stories. So deeply was I affected that the very next day, I embarked on a drive to Jackson, MS, with the determination to meet the author herself. I knocked on her door, and to my great surprise and delight, she graciously invited me in for a talk.

I'm certain that we made quite a spectacle. She exuded the charm and appearance of a classic Southern school marm, while I was clad in ripped-up jeans, a punk t-shirt, combat boots, and adorned with multiple piercings.

Her stories beautifully encapsulate the entire essence of the Southern struggle and angst. If one approaches them with respect and an open heart, they will embrace you like warm blankets on a cool night, providing comfort, insight, and a deeper understanding of the human experience.

The mighty reading list led me here, with a collection of Welty stories noted. I don't think I've read any Welty before, except for a dim memory of an audio story, perhaps "Why I Live At The P.O."

This writing is of fine quality and human scale, reminding us why literary writing matters. It captures moments in time, the sensibility of a place and era, and has a sharp ear for local dialect and character, all presented in carefully crafted short fictions.

I'll begin with an oddity, "Acrobats In The Park", possibly Welty's first fiction, published later in life and available online. It depicts a family of traveling acrobats resting in a park, dealing with family relationships, an unplanned pregnancy, and a failed stunt. It's interesting but a bit unsure.

"Keela, The Outcast Indian Maiden" has a young man telling a tavern owner about his days as a carnival barker for a geek show. The story contains realistic language and attitudes of 1930s Mississippi and has a touching end.

"Lily Daw And The Three Ladies" is about a local simpleton who has been taken in by the town. Her caretakers try to tell her she's been placed in an institute, but she thinks she's engaged. It's a delightful misadventure.

"Petrified Man" is told through gossipy dialogue in a hair salon and involves a surprise pregnancy, a freak show, and the discovery of a criminal. It's lighthearted and charming.

"Death of a Traveling Salesman" starts with a salesman lost and feverish on back roads. As he seeks help, it becomes a powerful meditation on life and loneliness, filled with humorous details and stirring imagery.

"The Wide Net" seems to be a relationship tale at first but blooms into a dream-like story as the husband leads a group to search for his missing wife in the Pearl River. The river proves to be integral to the lives of the people, and the story has a magical quality.

Also in the collection is "Clytie", which I previously read in The Oxford Book of Gothic Tales. It's a fine slice of Southern Gothic with a simple-minded young lady and her troubled family. Overall, these stories are excellent and a great example of Southern writing.

I should have known better.

After taking a class on Welty, Woolf, and O'Connor in college, I was certain that Welty was my least favorite author among the three. I had purchased this book for the class, and although I had only read a few of the stories in it, I decided that I would complete it someday.

However, I never truly understood the allure. Her writing style is irritating, her characters are all flawed (either physically or mentally), and her plots are largely uninteresting. Perhaps I'm simply too much of a Yankee to appreciate her work (or maybe I'm just not as easily entertained by the disabled or albinos). It's possible that I'm missing something, but based on my initial impressions, I don't have high hopes for ever developing a fondness for Welty's writing. Maybe with more time and a different perspective, I'll be able to see the value that others seem to find in her work. But for now, I remain unconvinced.