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- W72812824 abstract "stories of Bride of often called Welty's most enigmatic (Hutchens 2); and even their sequence may puzzle first readers of 1955 collection, for example, logic of positioning title story, set on a boat train from London to Ireland, between two others that part of what Albert Devlin has called Welty's Mississippi chronicle: The Burning, her only Civil War story, and Ladies Spring, set Depression years (xii, passim). However, these works cohere not around setting but around important image patterns relating to women's paradoxical status with respect to cultural bonds, as both powerful and powerless as Ann Romines has described protagonist of Welty's Circe emphasizing that these qualities do not result from story's basis mythology but, rather, are rooted ... gender thus revealing Circe as in many ways a quintessential story by an American woman (4). Many such gender-based cultural judgments relate to an individual's daring or reticence, promiscuity or chastity. In The Burning, for example, Southern culture's obsession with female chastity is responsible for two sisters' self-conviction and suicide after their rape by Union soldiers: they now tainted by what would have been seen as promiscuity, however involuntary. And it is miscegenation, another form of promiscuity, that has resulted birth of Delilah's baby, who dies burning of plantation home. thematic tension between promiscuity or daring and chastity or emotional reticence Welty's fiction is undergirded by tension between two seemingly contradictory aesthetic principles, one of which she has described as imagination's power to reveal, with nothing barred (Eye 134) and other as narrative reticence. In explaining latter, she says that the finest story writers seem to be one sense obstructionists. As if they held back their own best interests.... And what is stranger is that if look for source of deepest pleasure receive from a writer, how often do not find that it seems to be connected with this very obstruction.... We speaking of beauty. And beauty is not a blatant or or obvious quality; indeed, it is associated with reticence, with stubbornness, of a number of kinds.... Beauty ... is a result; it belongs to ordering, to form, to aftereffect (105). Michael Kreyling finds that this reticence occurs throughout collection terms of a protagonist's rhythmic movement toward stillness, serenity, and of vision that redeems heart from its hopeless isolation (139). Noel Polk finds clues to reticent text subtle and tenuous connections amid profusion of incidents ... that come at us wild and furious counterpoint (110, 112). Identifying Welty with ancient tradition of poet/storytellers, poet William Jay Smith contrasts emotional reticence of Welty's fiction with emotion-releasing precision of its poetic images Optimist's Daughter (80). And, indeed, her delight natural dialogism of language--in fact that we start from scratch, and words don't (Eye 134)--lends added resonance to theme of promiscuous ... joy two stories that might at first glance seem quite unrelated: The Bride of Innisfallen and Ladies Spring stories that also evince Welty's own language and narrative. meanings of reticent texts (perhaps all texts), according to contemporary short story theorist Ian Reid, keyed not only by linguistic play but also by various kinds of textual framing (300). Such framing Welty's fiction contributes to its acknowledged intertextuality, as it helps to establish balance between human emotion and vision throughout Bride of and Other Stories. Ideas of sexual promiscuity and chastity, as well as certain liminal crossings of understood thresholds between those states to achieve reversal[s] of vision, necessary to a society's ability to deal with change, according to Carey Wall (June 26). …" @default.
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- W72812824 title "Reticent Beauty and Promiscuous Joy: Textual Framing in Eudora Welty's the Bride of the Innisfallen and Other Stories" @default.
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