A Writer's Eye Part 15

12. Carter's Mr. Campion mystery novels were published under the name Margery Allingham. The Galantrys was published as Carter's Dance of the Years in England the same year.

13. Daily New York Times reviewer Orville Prescott also complains that "characters may speak for the author, but not the author for the characters," 13 Oct. 1943: 21.

14. At the time Welty was reviewing Warner's A Garland of Straw and The Galantrys, publishers were pressing Welty to revise the story "Delta Cousins" into a fulllength novel. Reviews of her second collection of stories, The Wide Net (published 23 Sept. 1943), complained that technique obscured realism. For a discussion of Welty's difficulties with such critical challenges and how they probably drew her attention to stylistic weaknesses in the books she was reviewing, see Michael Kreyling, Author and Agent: Eudora Welty and Diarmuid Russell (New York: Farrar Straus Giroux, 1991) 10015.

15. Tomorrow was a monthly magazine of essays, poetry, fiction, and book reviews owned and edited by Eileen J. Garrett and published by Creative Age Press in New York from 194151. Garrett states in her first editorial that she wishes "to know what each man who writes and dreams and creates, is thinking about, and by what structural process of thought he has arrived at building his own intellectual world . . . [her writers] will operate with truth and freedom within these pages" (September 1941: 2). Welty's story "At the Landing" was published in Tomorrow, April 1943. One of the editors, Katherine Woods, reviewed The Wide Net in the same issue as Welty's review of Warner's stories (54). A review of The Best American Short Stories, 1943 follows Welty's review of A Garland of Straw, and Welty's story "Asphodel'' is singled out as "a ballet of a story, gracefully ch.o.r.eographed, subtly costumed, tenuous and persistent as a dream." H. D. Vursell, the reviewer and a Tomorrow editor, writes that "Asphodel" "will remain all his life long with the reader who approaches it quietly" (November 1943: 53).

16. Francisco de Goya made a series of engravings depicting first-hand the Napoleonic invasions of Spain 180814 (The Disasters of War), ill.u.s.trating the violence of the war with dramatic realism. Welty may be thinking specifically of the series of six small panels of "Capture of the Bandit Margarota [by the monk Pedro de Zaldivial]" that is in the permanent collection of the An Inst.i.tute of Chicago where Welty went often while she was a student at the University of Page 254 Wisconsin in the late 1920s. Welty also recalls seeing a Goya exhibition. It may have been the New York Metropolitan Museum of Art acquisition of twenty-nine drawings of The Disasters in 1935 or a 1955 exhibit of Goya's work shown in New York, Washington, and San Francisco. Welty says she traveled to New York for a week to ten days "every chance I got."

17. A comparison of the published review with the carbon typescript shows thirty-four substantive changes to delete superfluous description and amplification. Welty's original opening paragraph (deletions in italics) ill.u.s.trates the typical compression of her review: "This is a disarming book, and a pleasure to read. It's The first-person story of a young hired man living on a farm in Alabama about twenty-some years ago, and what everything about that was like. The authenticity is worth something, and the pleasure [it takes] in life in it is worth more" (MDAH WC18, Marrs 68).

18. The following deletion from the end of this sentence reiterates Welty's criticism of authorial manipulation of characters and dialogue by praising Kroll's style: "because of the absence of any wish on the author's part to teach us anything or belabor us with psychology or morals. A more free-flowing and natural wisdom plays about the characters than any of that would call for" (MDAH WC18, Marrs 68).

19. Kroll's other novels are also about the South. The Cabin in the Cotton (1931) was the most successful, but it was probably Rogues' Company: A Novel of John Murrell (1943) that was interesting to Welty who had also fictionalized John Murrell in her 1942 story "A Still Moment." Her research for several historically-based stories qualifies her to judge authenticity in Kroll's novels.

20. Welty's first review of a significant author is twice as long as her nine previous ones and is placed a page or two earlier in the Book Review. It was deleted from the galleys of The Eye of the Story: Selected Essays and Reviews, probably to shorten the book (New York: Random House, 1978; hereafter cited as Eye). See MDAH WC16, Marrs 5963. For a discussion of this review in relation to Welty's fiction, see Kreyling, Author 10810.

21. As she was writing an introduction for a new printing of To the Lighthouse, Welty acknowledged her debt to Woolf: "I know, even though I couldn't show in my work, . . . the sense of what she has done certainly influenced me as an artist" (Prenshaw 325).

22. For an account of Welty's early pleasure in reading Perelman, see her review of his Baby, It's Cold Inside, NYTBR 30 August 1970: 1, 25.

23. "Dyak" or "Dayak" refers to the Indonesian people of the area of Borneo, and "Dyak-like tread" suggests, in the parlance of the times, an identification of Perelman's witty outrageousness with the "Wild Man of Borneo," a stock freak show figure.

24. Clifford Odets (190663) wrote social protest plays including Waiting for Lefty (1935) and Awake and Sing (1935).

25. For a discussion of Welty's use of a pseudonym, see introduction.

Page 255 26. Welty often insists on truth and pa.s.sion in fiction, and here, in art and in nonfiction.

27. Francisco de Goya (17461828, see note 16 for A Garland of Straw). In a pa.s.sage not quoted in Welty's review, Biddle writes that he aspires to "create a mood, through color, line, and that indirect approach . . . which will supplement that particular episode of horror selected to ill.u.s.trate the essence of war. Goya of course always had it." Artist at War (New York: Viking, 1944) 56.

28. In a 1978 interview, Welty said, "I remember reading that Goya had trained himself as an artist to see action, and when he drew a falling horse everyone said the figure was completely grotesque, but that was before the invention of photography, which proved that Goya's eyes saw everything absolutely right, the way a falling horse looked in mid air" (Prenshaw 263).

29. See Welty's review of G. I. Sketch Book, ed. Aimee Crane, NYTBR 29 October 1944: 20.

30. See also her next review of two more mystery story collections, Sleep No More and Jumbee and Other Uncanny Tales, NYTBR 24 September 1944: 5, 21.

31. Weird Tales, a genre magazine (192354) founded by H. P. Lovecraft, published many of the writers named in Welty's review.

32. "The Fireplace" is set at the Planter's Hotel, which burns to the ground in 1922 according to the story.

33. The term "Jumbee," Whitehead explains in the story "Black Tancrede," means "virtually any kind of ghost, apparition or revenant" in the West Indies (68).

34. In his history of the New York Times, Gay Talese explains that books by people from the Times "were nearly always given generous, if not extensive, treatment" (The Kingdom and the Power New York: World Publishing, 1969: 266). Enjoy Your House Plants might not have been reviewed except that Dorothy H. Jenkins was the garden editor of the Times. This relationship suggests another reason for the review's brevity and for the byline to be Welty's initials only.

35. According to William Hollingsworth's journal, the Munic.i.p.al Art Gallery of Jackson, Mississippi, purchased a painting by Fredenthal in March or April 1943. See Jane Hollingsworth, ed., Hollingsworth: The Man, the Artist, and His Work (Jackson: U P of Mississippi, 1981) 61, 63. In her review, Welty does not mention Richard Wilc.o.x's text, which takes the form of paragraphs describing each of Fredenthal's drawings. Wilc.o.x, an a.s.sociate editor for Life, had reported from several naval fronts.

36. A trade edition t.i.tled Art in the Armed Forces was published simultaneously by Hyperion Press and distributed by Scribner. It was nearly one hundred pages longer and was the book reviewed by most other journals. Both editions included brief biographies of the contributing artist-soldiers.

37. The correct t.i.tle is A Beleaguered City.

38. The Return was first published in 1910, but it is the revised edition of 1922 that is reprinted in the Viking Portable collection that Welty reviewed.

Page 256 39. Portrait of Jennie was published in 1940, not 1920.

40. Irving and his companions, Englishman Charles Joseph Latrobe and Swiss Yankee Albert Pourtales, met with Judge Henry Leavitt Ellsworth at Fort Gibson. From there, Ellsworth was to supervise the 1830 Indian removal. Bean, whom Irving called Captain, was a ranger who hunted and protected the party on their tour.

41. Prarie is Irving's spelling. A Tour of the Prairies was published as part of The Crayon Miscellany (1835); however, the sample chapter included in The Western Journals is "The Creole Village," first published in 1837 in The Magnolia, then in The Adventure of Captain Bonneville (also 1837) and later in Wolfert's Roost (1855). "The Creole Village" was never in A Tour of the Prairies as McDermott (and Welty) suggest.

42. The following lines were cut at this point from Welty's typescript for the published review; they are not restored for The Eye of the Story: "for instance, read his account of the bee hunthe could be specific as well as splendid with vital detail. He could write with considerable pace when the need arose, and cover wide territory and fast action in one of his nimble, dash-filled paragraphs." (MDAH WC16, Marrs 54) See W. U. McDonald, Jr., "The Eye of the Story: Bibliographic Notes on the Contents," Eudora Welty Newsletter 2.2 (Summer 1978): 15 for brief notes on the variants between the reviews in NYTBR and Eye.

43. Welty's following quotation from the Journals was deleted from her typescript for the published review and not restored in The Eye of the Story version: "'Chief cook of Osage villagesa great dignitarycombining grand chamberlain, minister of state, master of ceremonies and town crierhas under-cooks. He tastes broth & c. When strangers arrive he goes about the village and makes proclamation . . . a tall man painted-head decorated with feathershad an old greatcoat, with a wolf's tail dangling below.'" (MDAH WC16, Marrs 54).

44. My Darling of the Lions (Boston: Little, Brown, 1943).

45. Glenway Wescott had written eleven other books including poetry, novels, short stories, and essays before Apartment in Athens. That Wescott was a best-selling author is probably the reason for the page-one review. The other possible page-one book reviewed on that date was Richard Wright's Black Boy (4 March 1945: 3).

46. Fireman Flower (Hogarth Press, 1944). Welty reviewed the 1945 Vanguard Press (New York) edition which has the following blurb by her on the front flap of the dust jacket: "Hurrah for Fireman Flower. I read it with pleasure . . . The book is bound to prove exciting when you bring it out. Mr. Sansom makes one feel the powerful impression of an original mind at workthese are stories of compelling imagination and intensity.Eudora Welty." The published review is a somewhat longer and slightly rearranged version of Welty's carbon typescript (MDAH WC18, Marrs 70).

47. Giorgio de Chirico (18881978) was a pioneer of metaphysical painting. His work was exhibited with the 1936 exhibit "Fantastic Art, Dada, and Surrealism"

Page 257 (Museum of Modern Art). Other de Chirico works are in the New York Museum of Modern Art and the Art Inst.i.tute of Chicago; see note 16 for A Garland of Straw.

48. Storm (New York: Random House, 1941), Ordeal by Hunger; The Story of the Donner Party (New York: H. Holt, 1936).

49. Welty's enjoyment of Names on the Land should not be confused with her interest in "place in fiction," although Stewart's book suggests answers to the questions Welty asks about a place: "Location is the crossroads of circ.u.mstance, the proving ground of 'What happened? Who's here? Who's coming?'" (Eye 118).

50. Undset's edition is based on stories collected by Norwegian folklorists Jrgen Moe and Peter Christian Asbjrnsen.

51. "Ahslad" in the NYTBR. "The Ashlad Who Made the Princess Say, 'You lie.'" True and Untrue 17375.

52. Ill.u.s.trated by Frederick T. Chapman.

53. Alexander Alexeieff.

54. Roman Jakobson provided the "folkloristic commentary."

55. Gustave Dore (183283).

56. The Federal Writers' Project, created in 1935 as part of Franklin Roosevelt's Works Progress Administration, sponsored guides for the forty-eight states. Lyle Saxon, State Supervisor, and Edward Dreyer, a.s.sistant State Supervisor, directed the writing of Louisiana: A Guide to the State (1941). Gumbo Ya-Ya expands the "Folkways" chapter (8393).

57. Perelman cartooned and wrote for Judge, a popular weekly humor magazine edited by Norman Anthony, from 192529. "High Jinks Travelogue" is Welty's first review after Van Gelder left the Book Review two and a half years earlier.

58. Dawn Ginsbergh's Revenge (New York: H. Liveright, 1929), Strictly from Hunger (New York: Random House, 1937), The Dream Department (New York: Random House, 1943), Crazy Like a Fox (New York: Random House, 1944, reviewed by Welty NYTBR 2 July 1944: 6), Acres and Pains (New York: Reynal and Hitchc.o.c.k, 1947).

59. All twelve essays collected were previously published in Holiday, edited by Ted Patrick.

60. Bao Dai, "deposed Emperor of Annam in Indonesia" (59). The quotation is taken from the following pa.s.sage: "Since he spoke almost no English, the interview was necessarily limited to pidgin and whatever pathetic sc.r.a.ps of French we could remember from Frazier and Square. To put him at ease, I inquired sociably whether the pen of his uncle was in the garden. Apparently the query was fraught with delicate political implications involving the conflict in Indo-China, for he shrugged evasively and buried his nose in his whiskey-and-soda" (Westward Ha! 60).

61. Macao, "the last remnant of Portuguese glory in China" is an island near Hong Kong (Westward Ha! 63).

62. In Westward Ha! Tungku Makhota is a Malaysian ruler (70).

Page 258 63. Young Man with a Horn (Boston: Houghton Mifflin, 1938), Baker's first novel, is inspired by the life of jazz musician Leon Bismark (Bix) Beiderbecke (190331).

64. Welty may be thinking of Leslie Fiedler's essay "Come Back to the Raft Ag'in, Huck Honey!" a Freudian a.n.a.lysis (Partisan Review June 1948: 66471).

65. In his review of Intruder in the Dust, "William Faulkner's Reply to the Civil-Rights Program" (New Yorker 23 October 1948: 12028), Edmund Wilson charged that "Faulkner's weakness has also its origin in the antiquated community he inhabits, for it consists in his not having mastered . . . the discipline of the Joyces, Prousts, and Conrads. . . . Faulkner's provinciality, stubbornly cherished and turned into an a.s.set, inevitably tempts him to be slipshod and has apparently made it impossible for him to acquire complete expertness in an art that demands of the artist the closest attention and care" (12122). Welty responded to Wilson in a letter to the editors of the New Yorker, who printed it under "Department of Amplification," 1 January 1949: 5051. She quoted Wilson and asked, "Could the simple, though superfluous, explanation not be that the recipient of the impact [of the south], Mr. Faulkner, is the different component here, possessing the brain as he does, and that the superiority of the work done lies in that brain?" (51). She also wrote to her friend John Robinson, "Faulkner is getting it from everywhere'' (MDAH WC29, Marrs 17677).

The Hudson Review had already bought Welty's story "Sir Rabbit" for the Spring 1949 issue, but perhaps the publication asked Welty to review Intruder for the Winter issue (January-February) 1949, after seeing her reply to Wilson in the New Yorker. In her review, Welty responds further to Wilson without naming him.

66. Wilson had complained, "This is one of the more snarled-up of Faulkner's books. It is not so bad as 'The Bear', which has pages that are almost opaque" (120).

67. Welty's review responds to Wilson's complaint that, "It would require a good deal of very diligent work and very nice calculation always to turn out the combinations of words that would do what Faulkner wants. His energy, his image-making genius get him where he wants to go about seventy per cent of the time, but when he misses it, he lands in a mess" (120). In an anonymously printed essay, "Place and Time: The Southern Writer's Inheritance" (Times Literary Supplement: American Writing Today 17 September 1954: xlviii), Welty wrote that Faulkner's "work is a whole that cannot be satisfactorily a.n.a.lyzed and accounted for, until it can be predictedLord save the day."

68. Arthur A. (Fritz) Peters's own breakdown occurred "about a year after his discharge from the Army, with which he was in Europe thirty-seven months as regimental stenographer, interpreter and translator, section general's secretary and claims officer," reported Hollis Alpert, "The Mind in Torment" Sat.u.r.day Review September 17, 1949: 11. Welty was friends with Peters and his wife Mary Louise Aswell, who was Welty's editor at Harper's Bazaar.

Page 259 69. Diarmuid Russell, literary agent for Welty and Peters, may have recommended Welty as a reader for the publisher, Farrar, Straus. The following blurb was published on the rear panel of the dust jacket for The World Next Door: "This book must be unique. It seems to reveal a world in a way and on a level which no other account of a like experience has either accomplished or attempted. Before our eyes this world is madness and pure logic and dream, produced in its changeswith much power, but as easily and objectively as bubbles from a pipesimultaneously or one after the other in new combinations. It has the value of an honest and complete and new study of experience, brilliantly set down, and the excitement of some superior mystery or spy storyfor it is the very material of suspense. Mr. Peters has done a thrilling piece of work, which this reader, once having begun it, could not put down" (3). Portions of Welty's comments were also printed on the publisher's invitation to read Peters's book and on the dust jacket of his next book Finistere (1951). Reproduced in George Bixby, "Blurbs: Welty on Fritz Peters," Eudora Welty Newsletter 4.1 (1980): 26; see also Noel Polk, Eudora Welty: A Bibliography of Her Work (Jackson: U P of Mississippi, 1993) 394.

70. In 1949, Welty visited San Lorenzo, Nice, and Siena, Italy, See Welty, Photographs (Jackson: U P of Mississippi, 1989) images 18889, 19598, and 213.

71. Welty contributed the following blurb that was printed on the rear panel of the dust jacket for South: "Mr. Sansom's writing is always interesting because it is always working . . . Like a microscope, a seismograph, an aerial, or a harp, it can pick up details and fluctuations the rest of us miss" (2). Reproduced in George Bixby, "Blurbs: Welty on William Sansom" Eudora Welty Newsletter 7.1 (1983): 13; Polk 394.

72. Welty reviewed Sansom's first story collection Fireman Flower, Tomorrow May 1945: 6970. His other books were Three (London: Hogarth Press, 1946; New York: Reynal and Hitchc.o.c.k, 1947) and The Body (London: Hogarth Press, 1949; New York: Harcourt, Brace, 1949).

73. This sentence is used on the rear panel of the dust jacket for Sansom's next book, The Face of Innocence (New York: Harcourt, Brace, 1951). Reproduced in Bixby, "Blurbs: Welty on William Sansom" (3); Polk 395.

74. Throughout the review, the author's name is misspelled "Macauley." It has been corrected here.

75. Macaulay had written twenty-one novels, three travel books, and some poetry and criticism, including The Writings of E. M. Forster (New York: Harcourt, Brace, 1938). During her travels to England and Ireland in 1949, Welty met Elizabeth Bowen and possibly Macaulay, who was Bowen's friend. Spencer Curtis Brown was literary agent for both Bowen and Macaulay.

76. Peter Breughel, the Elder, sixteenth century Flemish painter, painted rural peasant scenes such as Wheat Harvest or August (1565, New York Metropolitan Page 260 Museum of Art) and Peasant Wedding Dance (1566, Detroit Inst.i.tute of Art) that contrast humankind with nature. See also note 2 for Sweet Beulah Land.

77. Janet Flanner's translation of Cheri is dated 1929.

78. Wescott wrote the "Introduction" for the collection.

79. The bracketed phrase, a line dropped from the printed review, is from Welty's carbon typescript of the review (MDAH WC18, Marrs 68).

80. Beginning around 1950, a sentence beneath a NYTBR review gave further identification of the reviewer. The following tag accompanies the Guareschi review: "Miss Welty, an American novelist and short-story writer who has spent much time in Italy, is the author most recently of The Golden Apples" (NYTBR 17 August 1952: 4). Welty traveled in Italy in 1949 and 1951.

81. The Little World of Don Camillo (New York: Farrar, Straus and Giroux, 1950).

82. Although it is not mentioned in the reviewer note, Welty visited Brighton, England, in summer 1951 (Kreyling, Author 155).

83. Patrick Hamilton (190462, British) wrote eight novels and three plays prior to The West Pier (1952) and its successor, Mr. Stimpson and Mr. Gorse (1953). Hamilton is best remembered for his plays Rope (1929) and Gaslight (1939) that were cast successfully into films by Alfred Hitchc.o.c.k (1948) and George Cukor (1944) respectively.

84. Welty's opening paragraph written in a whimsical style to match the style of White's novel was deleted from the typescript for the NYTBR. Two other paragraphs of quotations from the novel were also cut, probably to shorten the review to fit onto the children's book pages. (The White review already required one page more than usually allotted for children's books.) More than twenty additional substantive changes were made from the typescript to the printed review, nearly all of them altering the style of Welty's review and changing the point of view from first to third person. Welty reportedly sent a copy of her typescript to White after the edited review was printed. She used her typescript for the setting copy of The Eye of the Story. Below are Welty's opening paragraph and a collation of a few other changes: "If I had the qualifications (a set of spinnerets and the know-how), I'd put in tonight writing 'Adorable' across my web, to be visible Sunday morning hung with dew drops for my review of Charlotte's Web." (Eye 203) "varied, but not opposites" (Eye 204), "varied but not simple or opposites" (NYTBR 49); "for freedom'' (Eye 204), "for complete freedom" (NYTBR 49); "When he was a baby the sun shone pink through his ears, endearing him" (Eye 204), "When he was a baby, he was a runt, but the sun shone pink through his ears, endearing him" (NYTBR 49); "they see what she's written for them'Salutations!'" (Eye 204), "she says 'Salutations!'" (NYTBR 49); "earth, love and affection" (Eye 205), "earth, affection" (NYTBR 49); "night and day and seasons" (Eye 205), "pleasure and pain, and the pa.s.sing of time" (NYTBR 49); "perfect, and perfectly effortless and magical, Page 261 as far as I can see, in the doing" (Eye 205), "perfect and just about magical in the way it is done" (NYTBR 49).

85. The intent of this final paragraph is lost without Welty's original beginning (see note 84). The phrase "I will say" (not in the typescript) is added to the Eye version preceding "Charlotte's Web is an adorable book" for further clarification of the point of view (206).

86. The following sentence concludes this paragraph on the typescript: "Some of the stories themselves are Ja.n.u.s-like; and we may have seen so far, of his talent, only the face that looks back." (MDAH WC18, Marrs 69).

87. The Catcher in the Rye (Boston: Little, Brown, 1951).

88. The following sentence from the typescript is deleted here: "Very likely the short story is an especially happy form for such a talent to work in, because that medium's demands are higher and more special, and are difficult enough for his powersand are thus a springboard." (MDAH WC18, Marrs 69).

89. The Eye of the Story review includes a quotation here to describe Battersea Rise, several sentences of additional quotation and description, and a rewritten final paragraph corresponding with the last two paragraphs of the NYTBR review. See Eye 22126 and MDAH WC16, Marrs 58, 61.

90. Forster also appreciated Welty's writings. In 1947 he wrote to her, "I feel I should like to give myself the pleasure of writing you a line and telling you how much I enjoy your work The Wide Net. All the wild and lovely things it brings up have often been with and delighted me" (298). Quoted by Welty in "Writers' Panel" in E. M. Forster: Centenary Revaluations, eds. Judith Schereer Herz and Robert K. Martin (Toronto: U of Toronto P, 1982) 285307. Welty and Forster met in Cambridge in 1954 (Prenshaw 34). Welty makes frequent reference to Forster in "The Reading and Writing of Short Stories" (1949), reprinted with revisions as ''Looking at Short Stories" in Eye, 85106.

91. Critical praise for Rain on the Wind (New York: Macmillan, 1950) and The Bogman (New York: Macmillan, 1952) appears on the rear dust jacket of The Green Hills.

92. Macken (19151967) was from Galway, Ireland. Descendants of thirteenth century ruler of the region, Richard de Burgh, became known as the tribes of Galway.

93. For Welty's revision in The Eye of the Story, this explanation of Dinesen's real name, the t.i.tles of Dinesen's previous books in paragraph two, and the rhetorical questions in paragraphs five and six are deleted. See Eye 26063.

94. Seven Gothic Tales (New York: Modern Library, 1934), Out of Africa (New York: Random House, 1938), Winter's Tales (New York: Random House, 1942).

95. See also Welty's comments in Isak Dinesen: A Memorial, ed. Clara Svendsen (New York: Random House, 1965) 9495.

96. The review in the New York Herald Tribune (9 October 1927) was t.i.tled "An Page 262 Essay in Criticism." Ernest Hemingway, Men Without Women (New York: Scribner's Sons, 1927).

97. Welty used her typescript rather than the NYTBR review as setting copy for The Eye of the Story. There are three substantive but minor differences between the NYTBR and Eye versions (21 September 1958: 6; Eye 19092). For example, in the typescript and in Eye, this paragraph begins "This is published today in Granite and Rainbow" (MDAH WC16, Marrs 54, 57; Eye 190).

98. The Common Reader (1925), The Common Reader: Second Series (1932), The Death of the Moth and Other Essays (1942), The Moment and Other Essays (1947), The Captain's Death Bed and Other Essays (1950) were all published by Hogarth Press in England.

99. Dr. Mary Lyon and Miss Brownlee Jean Kirkpatrick.

100. Marie Corelli, pseudonym for Mary Mackay (18551924), wrote popular novels, but was greatly ridiculed toward the end of her life. Woolf's review of Marie Corelli: The Life and Death of a Best Seller by George Bullock (1940) begins "This is a depressing book" (Granite 212).

101. "Phases of Fiction" Bookman (April, May, June 1929).

102. The word "run" appears here in Welty's typescript and in the NYTBR, but the text of "Life and the Novelist" in Granite and Rainbow reads "rush" (MDAH WC16, Marrs 57; 41).

103. Welty crossed out "To the Light House" and interlined "it" on the typescript; she used Woolf's t.i.tle in the closing paragraph (MDAH WC16, Marrs 57).

104. "The Jumblies," a nonsense poem by Edward Lear, was included in Welty's childhood encyclopedia, Our Wonder World, Vol. V, 268. (See note 173 for Oxford Companion of Children's Literature.) Welty refers to the refrain: "Far and few, far and few,/ Are the lands where the Jumblies live;/ Their heads are green, and their hands are blue,/ And they went to sea in a Sieve."

105. Welty cited the anecdotes about the Schrafft hostess, Mr. and Mrs. Mifflin, daughter Giselle Mifflin, and Pandemonium in her review of Crazy Like a Fox (NYTBR 2 July 1944: 6).

106. The NYTBR error of "hair" for "ear" is corrected (12 October 1958: 8). In conjunction with the final paragraph, the byline note for the review says, "Miss Welty's own ear for American speech has been revealed in such books as A Curtain of Green, Delta Wedding, and The Ponder Heart" (NYTBR 12 October 1958: 4).

107. Green wrote Blindness (1926) while he was a student at Eton. His novels, Living (1929), Party Going (1939), Caught (1943), Loving (1945), Back (1946), Concluding (1948), Nothing (1950), and Doting (1942) were published in the United States by Viking Press from 1949 to 1952. His autobiography, Pack My Bag, was published in 1940 and 1952 in London (Hogarth Press), and in 1993 in New York (New Directions). In 1960, the year prior to reviewing Russell's critical study of Green, Welty reread all of Green to write "Henry Green: Novelist of the Imagina- Page 263 tion" Texas Quarterly 4 (1961): 24656, rpt. in Eye 1429. The first paragraph in the NYTBR collates with the third paragraph of the carbon typescript. The first two paragraphs of the CTS are constructed of sentences found elsewhere in the review and in Welty's full essay (MDAH WC16, Marrs 58).

108. Macmillan, 1960.

109. Kingsley Weatherhead, A Reading of Henry Green (Seattle: University of Washington Press, 1961).