Project MUSE®: Eudora Welty Review - Latest Articles
https://muse.jhu.edu/journal/590
Project MUSE®: Latest articles in Eudora Welty Review.daily12026-05-14T00:00:00-05:00text/htmlen-USVol. 1 (2009) through current issueLatest Articles: Eudora Welty ReviewTWOProject MUSE®Eudora Welty Review2165-266x1947-3370Latest articles in Eudora Welty Review. Feed provided by Project MUSE®Users' Guide: A Word from the Editors
https://muse.jhu.edu/article/968247
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In an essay titled "'The Fictional Eye': Eudora Welty's Retranslation of the South," Danièle Pitavy-Souques speaks about Eudora Welty as a curious traveler whose desires to venture away from her home in Jackson, "invariably allowed her to return with an enlarged experience of otherness" (58). This otherness, Pitavy-Souques contends, imbued Welty's "visionary power" as she "stored forms and patterns perceived in a constantly renewed and enlarged human, literary, and artistic experience" that manifested as "epiphanies" in her writing (58). It is rather apropos to have come across this quote upon our own recent returns from a collective sojourn to Welty's hometown of Jackson, MS, having attended the April 2025
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallUsers' Guide: A Word from the Editors2025-08-27text/htmlen-USUsers' Guide: A Word from the Editors2025-08-272025TWOProject MUSE®183762026-05-14T00:00:00-05:002025-08-27Tributes to Elizabeth Crews, Fred Chappell, and Ellen Gilchrist
https://muse.jhu.edu/article/968248
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Editors Sarah Ford and Rebecca Harrison and I offer heaps of gratitude and thanks to Elizabeth Crews for her decades of contributions to the Eudora Welty Review. With this issue, Elizabeth "steps down" (a phrase originating in the late 1800s) from the anonymous role of gathering the "Practical Matters" printed in the Review. For sixteen years, Elizabeth has communicated with the president of the Eudora Welty Society, the communications director of the Eudora Welty Foundation, the director of the Eudora Welty House and Garden, as well as the archivist and curator for the Eudora Welty Collection at the Mississippi Department of Archives and History. Naturally, the persons filling these roles change frequently, but
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallTributes to Elizabeth Crews, Fred Chappell, and Ellen Gilchrist2025-08-27text/htmlen-USTributes to Elizabeth Crews, Fred Chappell, and Ellen Gilchrist2025-08-272025TWOProject MUSE®204172026-05-14T00:00:00-05:002025-08-27"That Pink Kimono!": Eudora Welty's Wartime Fashions
https://muse.jhu.edu/article/968249
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Part of the rich material culture in Eudora Welty's fiction is made up by the world of fashion. Welty had a keen sensibility for the ways textiles and textuality interact to produce the material culture of the South between the two World Wars.1 We can trace this writer's attention to textiles all the way from the visits of the African American seamstress Fannie who came to the Welty household when she was a little girl to the character Laurel McKelva Hand, a fabric designer, who wears a wintry suit "of an interesting cut and texture" in The Optimist's Daughter (883). From the beginning, textiles and texts are linked as Fannie brings along stories with her sewing pins. Welty explains that "[t]his was a day when
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmall"That Pink Kimono!": Eudora Welty's Wartime Fashions2025-08-27text/htmlen-US"That Pink Kimono!": Eudora Welty's Wartime Fashions2025-08-272025TWOProject MUSE®601902026-05-14T00:00:00-05:002025-08-27Dim and Untouchable Things: Sir Arthur Eddington's The Nature of the Physical World in Drafts of Eudora Welty's "The Burning"
https://muse.jhu.edu/article/968250
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On Sunday, May 21st, 1950, Elizabeth Bowen wrote to her newfound friend, Eudora Welty: "I am halfway through and deep in The Nature of the Physical World. It truly is the book from which there was a waiting vacuum in me, and I do … thank you for sending it. I find myself saying some of the sentences in it over to myself."1 Welty first read the book in the early 1930s. In her biography of Welty, Suzanne Marrs writes that Welty "found her imagination stirred by Sir Arthur Eddington's The Nature of the Physical World, a treatise on the philosophic import of modern science" (Eudora 49). Eddington's The Nature of the Physical World, published in 1928, was among the first works to grapple with the philosophical
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallDim and Untouchable Things: Sir Arthur Eddington's The Nature of the Physical World in Drafts of Eudora Welty's "The Burning"2025-08-27text/htmlen-USDim and Untouchable Things: Sir Arthur Eddington's The Nature of the Physical World in Drafts of Eudora Welty's "The Burning"2025-08-272025TWOProject MUSE®579862026-05-14T00:00:00-05:002025-08-27"Put That in Your Pipe and Smoke It": Elvira Vaughn's Heroic Violence in Losing Battles
https://muse.jhu.edu/article/968251
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The solution to several lingering mysteries of Losing Battles is hidden in plain sight. Elvira Jordan Vaughn is not the crotchety comic figure she appears to be on her ninetieth birthday but was and remains the master puppeteer of her hill-country clan. I argue that, motivated by revenge and family honor, Granny Vaughn arranges the killings of three men, burns the Boone County Courthouse to the ground, conceals Julia Mortimer's pregnancy, and shields her eldest grandson Nathan Beecham from legal justice at the cost of a Black man's life. We shall see that this blunt indictment reveals her complexity as a character and restores her autonomy as an individual. For in her ruthlessness, her passion, and her pride
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmall"Put That in Your Pipe and Smoke It": Elvira Vaughn's Heroic Violence in Losing Battles2025-08-27text/htmlen-US"Put That in Your Pipe and Smoke It": Elvira Vaughn's Heroic Violence in Losing Battles2025-08-272025TWOProject MUSE®347072026-05-14T00:00:00-05:002025-08-27A Conversation with Eudora Welty, 1971: Eudora Welty and Frank Hains
https://muse.jhu.edu/article/968252
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"Have you ever thought about what you'd like for your epitaph?" the interviewer asks Eudora Welty, smiling. "Oh, Lord," Welty replies: "I couldn't care less. All I'm interested in is a piece of paper in my typewriter in the present moment." The date is March 23, 1971, and Welty sits across from her friend Frank Hains, who writes a column for the local paper (Kolkovich). Hains is interviewing her for Mississippi Educational Television, now Mississippi Public Broadcasting. For half an hour, Welty and Hains talk about everything from her beginnings as a writer to the "really enthusiastic response" to Losing Battles, the first book of serious fiction she has published since The Bride of the Innisfallen in 1955. Among
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallA Conversation with Eudora Welty, 1971: Eudora Welty and Frank Hains2025-08-27text/htmlen-USA Conversation with Eudora Welty, 1971: Eudora Welty and Frank Hains2025-08-272025TWOProject MUSE®466442026-05-14T00:00:00-05:002025-08-27Welty's Children
https://muse.jhu.edu/article/968253
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In twentieth-century American literature, children are far more than mere characters; they are symbols reflecting a nation's anxieties, hopes, and evolving understandings of self and society. Children represent a range of ideas tied to themes of innocence, vulnerability, societal expectations, and the potential for both hope and disillusionment. Eudora Welty was attuned to the particularities of childhood, as well as to the complicated roles children play in the construction of race and politics in the US South. Whether in her stories, novels, or photographs, Welty paid close attention to the lives of children, creating through them complicated characters who reflect larger social issues. This special section
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallWelty's Children2025-08-27text/htmlen-USWelty's Children2025-08-272025TWOProject MUSE®130372026-05-14T00:00:00-05:002025-08-27The Child Is Mother of the Author: Eudora Welty and Childhood, An Interview with Suzanne Marrs and Mary Alice Welty White
https://muse.jhu.edu/article/968254
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Many who now take care of Eudora Welty's writings never met her, much less knew her well. A time will come when no one living has a memory of the author who treasured her own memory most of all. With this reality in mind, the following interview presents recollections by Welty's niece Mary Alice Welty White and her friend and biographer Suzanne Marrs. They focus on the theme of childhood in this conversation. Future installments in this EWR series will take up later periods of Welty's life.You both knew Eudora Welty well. How would you describe her childhood?When I first met Eudora, I learned that one of the things we had in common was our sense of family. I knew that she grew up in a very loving family, though a
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallThe Child Is Mother of the Author: Eudora Welty and Childhood, An Interview with Suzanne Marrs and Mary Alice Welty White2025-08-27text/htmlen-USThe Child Is Mother of the Author: Eudora Welty and Childhood, An Interview with Suzanne Marrs and Mary Alice Welty White2025-08-272025TWOProject MUSE®445322026-05-14T00:00:00-05:002025-08-27Barefoot Boys and Smiling Girls: Re-reading Eudora Welty's Photographs of Childhood
https://muse.jhu.edu/article/968255
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A barefoot boy holds a light-colored pig by a leash as it roots in a pasture along a rural dirt road (Fig. 1).1 He sports two button-up shirts, one tucked into his pants and open at the neck, the second worn like a light jacket; his too big, loose-fitting knickers are tightly belted at the waist. The sun hits his forehead, nose, and cheeks, the resulting highlights emphasizing his dark complexion. Behind him, a hog wire fence sags from its posts, separating the background's out-of-focus dogtrot house from the crisply delineated foreground and the picture's primary subject, a long-haired piglet wearing a wide leather collar. The boy smiles at the animal, his downcast eyes directing our gaze to the lower right corner
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallBarefoot Boys and Smiling Girls: Re-reading Eudora Welty's Photographs of Childhood2025-08-27text/htmlen-USBarefoot Boys and Smiling Girls: Re-reading Eudora Welty's Photographs of Childhood2025-08-272025TWOProject MUSE®1460862026-05-14T00:00:00-05:002025-08-27Defying Imposed Childhood and Girlhood in Eudora Welty's The Bride of the Innisfallen
https://muse.jhu.edu/article/968256
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The 1941 Time review of Eudora Welty's first collection of short stories A Curtain of Green and Other Stories was not favorable, complaining that Welty "has a strong taste for melodrama, and is preoccupied with the demented, the deformed, the queer, the highly spiced" (qtd. in Champion 2). This persistent focus on "the abnormal" was deemed both the idiosyncratic and regional weakness of Welty's work. Nevertheless, in the long run of Welty's career, such grotesque elements would become the strong backbone for Welty's narratives featuring queer, disruptive, and rebellious children, who open a window to a world beyond adult characters' perceptions. These "abnormal" young figures and their grotesque acts do not denote
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallDefying Imposed Childhood and Girlhood in Eudora Welty's The Bride of the Innisfallen2025-08-27text/htmlen-USDefying Imposed Childhood and Girlhood in Eudora Welty's The Bride of the Innisfallen2025-08-272025TWOProject MUSE®850842026-05-14T00:00:00-05:002025-08-27Adult Daughters and Gendered Deathwork in Eudora Welty's The Optimist's Daughter and Jesmyn Ward's Sing, Unburied, Sing
https://muse.jhu.edu/article/968257
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In southern literature, children are often raised by absent or "failing" mothers. Paula Eckard's "Lost Childhood in Southern Literature" makes a compelling case that "lost, orphaned, and abandoned children have emerged as some of Southern literature's most memorable characters" (75). Eckard traces this experience in southern literature from Thomas Wolfe to Jesmyn Ward, paying particular attention to how the memories of familial fracturing, grief, loss, mourning, and tragedy define the thematic undercurrents of narratives of the "lost childhood" of adult as well as child characters. To expand on this sense of "lostness" amid grief and mourning as a powerful symbol in southern literature, we can turn to narratives of
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallAdult Daughters and Gendered Deathwork in Eudora Welty's The Optimist's Daughter and Jesmyn Ward's Sing, Unburied, Sing2025-08-27text/htmlen-USAdult Daughters and Gendered Deathwork in Eudora Welty's The Optimist's Daughter and Jesmyn Ward's Sing, Unburied, Sing2025-08-272025TWOProject MUSE®895952026-05-14T00:00:00-05:002025-08-27"I have always trusted this voice": Listening and Reading in Eudora Welty
https://muse.jhu.edu/article/968258
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The author of one not-very-successful children's book, The Shoe Bird (1964), Eudora Welty also produced a number of stories about young and adolescent girls, among them "A Memory," "The Winds," "June Recital," Delta Wedding, and "Moon Lake." Several of these stories feature scenes of reading, as well as extensive references to the girls'—for the most part, White middle-class girls'—reading, especially in the years before, during, and after World War I when Welty herself was a girl in Jackson, Mississippi. In "June Recital," for example, Cassie Morrison thinks that the object of her ambivalent girl-crush, Virgie Rainey, "full of the airs of wildness" and "abandon," who is to Cassie "a secret love, as well as her
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmall"I have always trusted this voice": Listening and Reading in Eudora Welty2025-08-27text/htmlen-US"I have always trusted this voice": Listening and Reading in Eudora Welty2025-08-272025TWOProject MUSE®310532026-05-14T00:00:00-05:002025-08-27War Games: Depictions of Children's Play in Eudora Welty
https://muse.jhu.edu/article/968259
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Welty often attends to the interiority of childhood in her fiction, which explores the politics of children's lives alongside those of adult characters. One such way her novels and stories do this is through references to children's games. The Golden Apples, in particular, includes numerous games. From the danger of mumblety-peg in "Moon Lake" to children's shrieks that resemble war cries while playing games like tag in "The Wanderers," Welty's narratives often punctuate innocent children's play with violent imagery or feature children playing games that are either figuratively or literally dangerous. Children's games can reflect larger societal conflicts and provide a safe outlet for understanding war and its
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallWar Games: Depictions of Children's Play in Eudora Welty2025-08-27text/htmlen-USWar Games: Depictions of Children's Play in Eudora Welty2025-08-272025TWOProject MUSE®222502026-05-14T00:00:00-05:002025-08-27Getting to Know Eudora Welty on a First Name Basis: A Review of the Documentary Eudora
https://muse.jhu.edu/article/968260
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One of the best and most challenging parts of working at the Eudora Welty House and Garden was telling the story of Eudora Welty's life. Of course, we had a script, but the script was simply a helpful menu of facts and stories to offer the ever-changing progression of guests. Every tour was different, depending on whether the guests were dedicated Welty readers or casual tourists, college students angling for extra credit or hyperactive fourth graders on field trips.The key to a memorable tour was not just to show the guests her collection of awards and honorary doctorate degrees (which she herself never displayed inside her house) or even to pore over her impressive collection of books that remain strewn across
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallGetting to Know Eudora Welty on a First Name Basis: A Review of the Documentary Eudora2025-08-27text/htmlen-USGetting to Know Eudora Welty on a First Name Basis: A Review of the Documentary Eudora2025-08-272025TWOProject MUSE®155252026-05-14T00:00:00-05:002025-08-27The Millsaps Digital Welty Lab: A Progress Report
https://muse.jhu.edu/article/968261
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In the spring 2022 issue of this journal, I published an account of the Digital Welty Lab at Millsaps College ("Welty's Digital Future: Some New Directions"). Launched in 2017, the Welty Lab invites students to imagine Eudora Welty's digital future. To date, twenty-one students have collaborated in this effort.1 These collaborations have resulted in a digital edition of "Powerhouse," a companion website to "Moon Lake," and several other projects still in progress. In what follows, I discuss these projects in their current state of development. I end with thoughts about a census and digital edition of Welty's correspondence.The initial Welty Lab project, a digital edition of "Powerhouse," aims to recover the
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallThe Millsaps Digital Welty Lab: A Progress Report2025-08-27text/htmlen-USThe Millsaps Digital Welty Lab: A Progress Report2025-08-272025TWOProject MUSE®206682026-05-14T00:00:00-05:002025-08-27"Think of the Things He Calls Himself!": On Teaching Welty in High School
https://muse.jhu.edu/article/968262
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Powerhouse is confusing!This opening line is obviously cribbed from Welty's masterful short story "Powerhouse," a work of fiction that on its own can be quite confounding to twenty-first-century readers, particularly teenagers. I find myself in a unique position to discuss Welty and teenagers since I am lucky enough to have been an undergraduate student of Suzanne Marrs and now a Mississippi high school English teacher in the middle of my twenty-fourth year of teaching. I was vaguely aware of Welty when I began my studies at Millsaps College in the late 1990s, but Dr. Marrs's class on Faulkner and Welty helped me see the genius of her work. It is horribly cliché to restate the idea that today's teenagers thrive on
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmall"Think of the Things He Calls Himself!": On Teaching Welty in High School2025-08-27text/htmlen-US"Think of the Things He Calls Himself!": On Teaching Welty in High School2025-08-272025TWOProject MUSE®97862026-05-14T00:00:00-05:002025-08-27Eudora Welty and William Faulkner: Queering of the City of New Orleans Eudora Welty Review Research Grant Report
https://muse.jhu.edu/article/968263
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As the winner of the 2024 Eudora Welty Review Research Grant, I was lucky to spend two weeks at the Mississippi Department of Archives and History in Jackson, and one week attending the Fiftieth Anniversary of the Faulkner and Yoknapatawpha Conference in Oxford. My aim was to study and compare the imageries of the city of New Orleans in Welty's and Faulkner's works.Drawing on the various conceptions of Literary Urban Studies, I aim to study the "queering" aspects in Welty's and Faulkner's places, teasing out the "non-normative" activities or people embedded in or underlying the master discourse of (hetero)normativity in the represented New Orleans in Welty's The Optimist's Daughter and Faulkner's Mosquitoes. My aim
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallEudora Welty and William Faulkner: Queering of the City of New Orleans Eudora Welty Review Research Grant Report2025-08-27text/htmlen-USEudora Welty and William Faulkner: Queering of the City of New Orleans Eudora Welty Review Research Grant Report2025-08-272025TWOProject MUSE®84082026-05-14T00:00:00-05:002025-08-27In the Pleasure of Our Meeting
https://muse.jhu.edu/article/968264
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I first met Eudora Welty in a dream. My mother, sister, and my first daughter were picnicking in a shady wood in the Catskills. From the simple cabin not far from our table, Welty opened the screen door and came out onto the porch.Sadly, I did not hear what the great author said, if anything. Had I just read "Asphodel"?It was around this time that I heard Welty read "Powerhouse" and "A Worn Path" to a packed hall at Agnes Scott College in my town of Decatur, Georgia. Ever after, I have encountered friends and new acquaintances who gleefully announce, "I was there!" A few years later, in 1990, Jane Pepperdene, already retired from Agnes Scott, invited Welty to celebrate the twentieth anniversary of Paideia, a K-12
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallIn the Pleasure of Our Meeting2025-08-27text/htmlen-USIn the Pleasure of Our Meeting2025-08-272025TWOProject MUSE®92592026-05-14T00:00:00-05:002025-08-27Faulkner, Welty, and Wright: A Mississippi Confluence ed. by Annette Trefzer, Jay Watson, and James G. Thomas, Jr. (review)
https://muse.jhu.edu/article/968265
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Eudora Welty, William Faulkner, and Richard Wright are three famous twentieth-century writers from Mississippi. This simple statement immediately raises questions about how well they knew each other, whether they read each other's works, and how they represented life in Mississippi, the South, and the United States during segregation. The 2021 iteration of the annual Faulkner and Yoknapatawpha conference examined these issues, and it also considered how more recent writers from Mississippi have engaged with the legacy of this earlier generation. The conference took place online during the Covid pandemic, with critics sharing their papers over Zoom, and the essays are collected in a new edition from University Press
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallFaulkner, Welty, and Wright: A Mississippi Confluence ed. by Annette Trefzer, Jay Watson, and James G. Thomas, Jr. (review)2025-08-27text/htmlen-USFaulkner, Welty, and Wright: A Mississippi Confluence ed. by Annette Trefzer, Jay Watson, and James G. Thomas, Jr. (review)2025-08-272025TWOProject MUSE®184922026-05-14T00:00:00-05:002025-08-27Dangerous Innocence: White Men, Mass Culture, and the Southern Outsider's Appeal, 1960–2020 by William P. Murray (review)
https://muse.jhu.edu/article/968266
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William P. Murray opens his introduction with a guest appearance of Eddie Glaude, Jr. on MSNBC in 2019 to discuss race and politics. He describes Glaude's message for Americans as having a shared responsibility in the future of racial relations, as opposed to the hosts' insistent focus on political representatives as the source of racist attitudes. With this contemporary anecdote, Murray exemplifies the ongoing quest of White Americans to maintain their own innocence. Dangerous Innocence illustrates "how White people use the imagined South (even as it fractures and becomes many souths) to construct a shared voice, proclaiming racial innocence" (4). A brilliant, generative, nuanced, highly readable, and clearly
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallDangerous Innocence: White Men, Mass Culture, and the Southern Outsider's Appeal, 1960–2020 by William P. Murray (review)2025-08-27text/htmlen-USDangerous Innocence: White Men, Mass Culture, and the Southern Outsider's Appeal, 1960–2020 by William P. Murray (review)2025-08-272025TWOProject MUSE®123442026-05-14T00:00:00-05:002025-08-27The Eudora Welty Collection: Mississippi Department of Archives and History
https://muse.jhu.edu/article/968267
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The Eudora Welty Collection, acquired over multiple years, measures over 230 cubic feet and is organized into 45 series. Eudora Welty began donating materials to MDAH in 1957. After Welty's death in 2001, a significant allotment of Welty materials was transferred to the Mississippi Department of Archives and History (MDAH) upon the settlement of her estate in 2005.The materials transferred to the Archives and Records Services Division (A&RS) from the Museum Division since March 2011, along with those transferred to the MDAH upon the settlement of Eudora Welty's estate, continue to be incorporated into the Eudora Welty Collection. Any newly acquired collections of Welty-related material not donated to MDAH by Eudora
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallThe Eudora Welty Collection: Mississippi Department of Archives and History2025-08-27text/htmlen-USThe Eudora Welty Collection: Mississippi Department of Archives and History2025-08-272025TWOProject MUSE®178182026-05-14T00:00:00-05:002025-08-27Eudora Welty Society
https://muse.jhu.edu/article/968268
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In thinking about my first society report as president, I was reminded of Welty's astute commentary on insight and "living relationships" in One Time, One Place: "If exposure is essential, still more so is the reflection" (8). In my own case, gratitude and admiration define my postscript to Kevin Murphy and Donnie McMahand, fellow Welty scholars, former UWG colleagues, and friends. They faithfully served the society as officers from 2020 to 2024, navigating a host of issues, including the choppy waters of dues structures and the IRS, while also facilitating a multitude of panels dedicated to innovative scholarly approaches to Welty. I remain grateful for their stewardship of the Eudora Welty Society and fellowship
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallEudora Welty Society2025-08-27text/htmlen-USEudora Welty Society2025-08-272025TWOProject MUSE®191132026-05-14T00:00:00-05:002025-08-27Eudora Welty House and Garden
https://muse.jhu.edu/article/968269
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The mission of the Eudora Welty House and Garden is to explore the life and work of Eudora Welty and to celebrate her varied literary and artistic achievements. Our vision for this historic site is to inspire the creative endeavors of future writers and artists by inviting them to see the world through Eudora's eyes and words.In 2024, the Welty staff drew deep inspiration from Eudora's legacy, rising to challenges with joy and the very grace and resolve Eudora herself embodied. We have embraced an eventful year, one marked by unexpected hurdles—from irrigation issues to staffing changes, including the bittersweet departure of our esteemed director Jessica Russell. With Russell's departure from the role, the site
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallEudora Welty House and Garden2025-08-27text/htmlen-USEudora Welty House and Garden2025-08-272025TWOProject MUSE®110722026-05-14T00:00:00-05:002025-08-27Eudora Welty Foundation
https://muse.jhu.edu/article/968270
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The Eudora Welty Foundation enjoyed a successful 2024 working with the Eudora Welty House & Garden, the Mississippi Department of Archives and History (MDAH), Millsaps College, the Folger Shakespeare Library, the Institute of Southern Storytelling, and other generous partners and supporters. The Foundation also was pleased to reach new audiences with programs and activities and looks forward to continuing to develop resources and events outlined in its Strategic Plan.Michael Pickard, PhD, continues to serve as the Eudora Welty Chair of Southern Literature at Millsaps College as well as associate professor of English and creative writing and director of the Millsaps Digital Welty Lab. He has received numerous grants
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallEudora Welty Foundation2025-08-27text/htmlen-USEudora Welty Foundation2025-08-272025TWOProject MUSE®104462026-05-14T00:00:00-05:002025-08-27Welty Scholarship 2024
https://muse.jhu.edu/article/968271
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This bibliography is based on current listings in online bibliographies and research done through Hunter Library at Western Carolina University. Useful databases included the MLA Bibliography, EBSCO (Academic Search Complete), FirstSearch (WorldCat, WorldCat Dissertations), ProQuest, and Google Scholar. In some cases, authors responded to direct
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Project MUSE®https://muse.jhu.edu/2026-05-14T00:00:00-05:00https://muse.jhu.edu/journal/590/image/coversmallWelty Scholarship 20242025-08-27text/htmlen-USWelty Scholarship 20242025-08-272025TWOProject MUSE®552232026-05-14T00:00:00-05:002025-08-27