I gave up after the first six stories.

I refer to them as stories, yet they were so ambiguous that the term'story' seems inappropriate.

Amid an avalanche of similes and excessive description, we are introduced to a strange character.

Then we drift onto another strange character, followed by a third and a fourth.

And then the narrative simply stops.

It is tedious, pointless, and truly annoying.

The overuse of similes and the excessive detailing make it difficult to follow and understand.

The constant introduction of new and strange characters without a clear connection or purpose adds to the confusion.

Overall, it fails to engage the reader and leaves one with a sense of frustration and dissatisfaction.

The older I grow, the more I come to appreciate the short story collection. This is the very first collection penned by Eudora, which has now become my all-time favorite name.

This collection has had a profound impact on me. It made me burst into laughter with stories like "Why I live at the P.O.," "Lily Daw and the Three Ladies," and "A Visit of Charity." It also brought me to the verge of tears with "Clytie," "The Whistle," and "A Curtain of Green." Moreover, it made me wonder about the brokenness, selfishness, and loneliness that plagues us humans, as depicted in "The Key," "Petrified Man," "Powerhouse," and "A Worn Path."

To be able to laugh, cry, and wonder - that's what makes a perfect collection. I have placed Eudora at the top of my list of short story writers, along with Flannery O'Connor and Raymond Carver. In a way, Eudora and Flannery are similar, both belonging to the Southern gothic genre.

I'm going to reread "Why I live at the P.O." It's time for another good laugh.

The title story in this first collection of short stories (1941) by Eudora Welty is a remarkable piece.

Unlike many of her tales that are darkly humorous, this one leans more towards the dark side. It centers around a bitter widow and the young black boy who assists her in her garden.

Set in Mississippi, the story is permeated with a current of sadness, acceptance, and violence.

I had the opportunity to listen to this story on "Selected Shorts" where it was showcased in a segment titled "Strange Places".

The description of the widow's bitterness and the boy's role in her life creates a complex and engaging narrative.

The setting of Mississippi adds a layer of authenticity and cultural context to the story.

The themes of sadness, acceptance, and violence are explored in a profound and thought-provoking way.

Overall, this story is a powerful example of Eudora Welty's literary talent and her ability to create compelling and memorable characters and stories.

One of the great pleasures of reading lies in coming across an author who has had an impact on the writers we hold in high regard. And this pleasure can transform into sheer delight when we find that this new author appeals to us even more than the original one. My admiration for Flannery O'Connor led me to discover Eudora Welty, and now I have come to realize that Welty, both as a writer and as a person, is someone I truly admire and love.

Both O'Connor and Welty craft a beautiful and precise prose, filled with irony and humor, and populated by characters, many of them eccentric, who inhabit the Deep South. O'Connor's perspective is both Catholic and lofty, her pity distant and absolute. Her characters struggle under the weight of their sins, their flaws emphasized through irony, until something, often abrupt and perhaps even violent, opens them up to grace.

Welty, however, is different. I would have a hard time pinpointing a specific religious denomination in her viewpoint, although I've heard that she lived and died as a Methodist. But in all her writings, I sense a kind of Christian Humanism: a recognition of the dignity of humanity and an affirmation of the incarnational mystery. In Welty's works, a character's flaws, though explored with devastating accuracy, reveal our shared humanity. Her prose may be restrained, but her pity is palpable. And everywhere, grace abounds.

Welty's worst stories, although still of good quality, are those in which she tries too hard to be symbolic, such as “The Key” or “The Whistle.” Better, indeed excellent, are the stories where the characters and their flaws, along with the accompanying ironies, speak for themselves, like “Petrified Man,” “Why I Live at the P.O.,” and “Clytie.” But the best, making up almost half the book and each one a masterpiece, are those stories in which the plot and characters inexplicably come together to create a powerful symbolic narrative, stories like “Keela, the Outcast Indian Maiden,” “A Memory,” “A Curtain of Green,” “A Visit of Charity,” “Death of a Traveling Salesman,” “Powerhouse,” and “A Worn Path.” Katharine Anne Porter, in her introduction, describes such stories better than I ever could: they are stories “where external act and the internal voiceless life of the human imagination almost meet and mingle on the mysterious threshold between dream and waking, one reality refusing to admit or confirm the existence of the other, yet both conspiring toward the same end.”

Lento scorre il fiume

Eudora Welty beautifully describes the peaceful life that flowed around her in Jackson, Missouri during the 1930s. The American countryside might have been dull, but it provided her with ample time to think and contributed significantly to literature.

We are free to envision white-painted wooden houses, shady gardens, and lovely ladies with wavy hair enjoying the cool breeze.

Her stories are delightful, full of imagination and sharp observation, which reminded me of Sherwood Anderson's "Winesburg, Ohio".

However, Anderson has a humanity and empathy that I don't find in these stories. They seem to be more animated by the idea of pleasant literature rather than the intention to describe people in their entirety. This seems like a pity because the author was talented enough to give more depth to the characters. I also find it unpleasant to tell stories about the tall girl that the good ladies try to fix against her will or the little lame negro exploited in a circus dressed as an Indian girl and such things. Zero social sensitivity, not for provocation, or total acceptance of the present state as if change were not even conceivable.

The spirit of the stories can be easily explained by the excellent social situation of the lady who, after attending the best schools, returns to Jackson, Missouri and resumes her peaceful life, evidently without a thought for the world, given the level of empathy she puts into her stories, which are very pleasant.

The introduction is excellent as it presents the author and her work in the best way.

Welty is an absolutely incredible author. Her specialty lies clearly in short story writing. She has an amazing ability to capture a moment in time with such eloquence that it's as if she freezes a bug encased in amber. The stories that I love the most are those with very little or even no dialog at all. In these tales, she masterfully exposes the innermost thoughts and aspirations of the characters she portrays. It's truly a remarkable feat. Her works are a great read for those long commutes. They can transport you to different worlds and make you forget about the hustle and bustle of the journey. Whether you're on a train, a bus, or in a car, Welty's short stories are the perfect companions to pass the time and engage your mind.

These earlier written stories by a young Eudora Welty are truly fascinating. The fact that she seemed to have such a remarkable understanding of the people of the South, despite having so little in common with them, is quite astonishing.

Welty provides honest and vivid portrayals of the small town Mississippians. She skillfully leaves all the judgments about their characters primarily to her readers, allowing them to form their own opinions.

I am particularly drawn to Welty's writing because my grandmother was born in Mississippi just a few years before her. My grandmother lived in the very world that Welty so beautifully put into words. It gives me a sense of connection and a deeper understanding of my grandmother's life and the times in which she lived. Through Welty's stories, I can almost step back in time and experience that world along with her.

Delicious!

I normally don't have a penchant for reading short stories. They often seem too brief to fully engage my interest. However, Welty's short stories are an absolute exception.

They are like peanuts, irresistible and addictive. Once you start reading one, you simply can't stop at just one.

Welty has this remarkable ability to create vivid characters and captivating plots within the limited space of a short story. Her writing is so engaging that it draws you in and keeps you hooked until the very end.

Each story is a little gem, filled with depth, emotion, and thought-provoking themes. It's as if she manages to pack a whole world into those few pages.

Whether it's a tale of love, loss, or the human condition, Welty's short stories always leave a lasting impression. They make you think, feel, and appreciate the power of good storytelling.

So, if you're like me and usually shy away from short stories, I highly recommend giving Welty's works a try. You might just be surprised and find yourself devouring one after another, unable to resist the delicious charm of her writing.

Early stories are characterized by precise description, remarkable empathy, and at times, true weirdness.

Welty's characters, be they side show workers, travelling salesmen, eccentric musicians, or a woman who moves into a post office, never cease to capture the reader's attention.

Some of the prose may seem overripe, yet more often than not, it brings the eccentricities into a clear and revealing light.

Her detailed descriptions paint vivid pictures in the reader's mind, allowing them to truly envision the characters and their surroundings.

The empathy she shows towards her characters makes them relatable and endearing, even when they are engaging in the most unusual of behaviors.

The element of weirdness adds an extra layer of intrigue, making the stories both fascinating and memorable.

Overall, Welty's early stories are a testament to her talent as a writer and her ability to create unique and captivating fictional worlds.

This is an extremely good collection of stories.

The real standout was "Why I Live at the P.O.," which is essentially a more southern and more refined pre-telling of the opening sequence of Home Alone. I literally laughed out loud in public at the hijinks and family squabble described therein. "Petrified Man" is also a must-read for anyone who likes old-fashioned slice-of-life hairdresser gossip.

Other stories are more somber examinations of southern life. "The Hitch-Hikers" poses the question: how would you feel if one stranger murdered another in your car, and at the same time you were invited to a really great party? "The Key" looks at the challenges of deafness (such as catching trains and finding love) in an unsympathetic era. "Death of a Traveling Salesman" (8 years older than the play you might be thinking of right now) takes a jealous look at family and love from the perspective of a man on the road.

Eudora Welty does both male and female protagonists well, and she excels at describing the elderly (as seen in "Clytie") and the disabled (as seen in "Lily Daw and the Three Ladies"), without demeaning them. Although her treatment of race is a little too glib at times, "A Curtain of Green" is a strong anthology, especially considering that it was her first. I am certain to come back for more.

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There are two highlight stories full of droll dialogues, for which the purchase alone is worthwhile. These stories are truly captivating with their unique charm and humorous exchanges. The dialogues bring the characters to life and make the reading experience highly enjoyable.

A few other stories I found okay. They had their moments but didn't quite reach the same level of excellence as the highlight stories. They were perhaps a bit more average in terms of their appeal.

However, many stories didn't speak to me at all. They were either too elegiac, with a rather solemn and mournful tone, or too gruesome, which made them a bit off-putting. Additionally, they lacked in dialogues, which made the characters seem less developed and the stories less engaging.

There needs to be more stars in the night sky. The current number of visible stars seems rather limited, and it would be truly magical if there were a greater abundance.

Imagine looking up and seeing a sky filled with countless twinkling stars, creating a breathtaking and awe-inspiring sight. It would enhance the beauty and mystery of the night, captivating the imagination of all who gaze upon it.

More stars would also have practical benefits. They could serve as better guides for navigation, both on land and at sea. Additionally, they would provide more opportunities for astronomers to study and understand the universe.

In conclusion, having more stars in the night sky would not only add to the aesthetic appeal but also have numerous practical advantages. It is something that we should strive for and appreciate.