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Similar inquiries into her fictions’ attention to class, gender, or ability in relation to crime, cultural/institutional policing, and Southern history are encouraged Investigations of Welty’s fiction’s attention to race and the South in relation to crime, cultural/institutional policing, and Southern history (Jim Crow, racial violence, the Civil War, Reconstruction, white flight).Examinations of the vexed topic of gender in the mystery genre (the femme fatale, toxic and hard-boiled masculinities, misogynoir, etc.) and Welty’s interventions on this matter.Identifications or reworkings of the specific components of genre fictions utilized by Welty.Cain, John Collier, Roald Dahl, Kenneth Fearing, Dick Francis, and Patrick White, or those she was known to be fond of such as Wilkie Collins and Tony Hillerman) Comparative or intertextual readings of Welty with other popular mystery and crime artists (e.g., Ross Macdonald, Edgar Allan Poe, Agatha Christie, Raymond Chandler, William Faulkner, and Chester Himes, as well as those mentioned in her correspondence such as Elizabeth Daly, Ngaio Marsh, James M.Close readings of Welty’s work through the frameworks offered by mystery, detective, crime, film noir, whodunit, cozy mystery, weird tale, police procedural, speculative, pulp, or horror genres.
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Meditations on the theme of mystery in Welty’s writings or photography.Please address inquiries and 300-word proposals to Jacob Agner and Harriet Pollack topics include This CFP invites essays on the following topics (and more). How do Eudora Welty’s signature talents as a Southern modernist, a woman writer, a comedic eye, and an innovative genre revisionist take on the American crime genre? This collection aims to follow the clues in Eudora Welty’s fiction, photography, juvenilia, nonfiction, correspondence, and biography to discover the ways in which Welty worked within, against, and beyond mystery and detective fiction.
EUDORA WELTY STORY FULL
Yet the full mystery of Eudora Welty’s genre work is still something to be uncovered. Then in her late life, Welty shared a literary relationship and epistolary intimacy with the crime writer Ross Macdonald (aka Kenneth Millar). Not coincidentally, the most productive period of Welty’s career (approximately 1941 to 1955) coincides with the “classic” film noir phase in Hollywood cinema. A prolific reader and moviegoer, Welty was an enthusiastic fan of crime and detective fiction, and consequently, from her Depression-era collection A Curtain of Green (1941) through her civil rights stories (1960s) and late-life manuscripts, many of her fictions in unexpected ways touch the topics of murder, mystery, mayhem, criminal psychology, detective work, policing, and justice. It is less known, however, how often in these puzzling stories Welty engages with the mystery genre. In so many of her fictions and photographs, Welty’s genius relies heavily on the puzzling detail, the withholding plot, the cryptic conclusion, and the opaque mystery at the heart of her characters’ motivations. It’s no secret that the Southern author Eudora Welty was an adamant believer in mystery.