Los perros de caza se levantaron de los porches de los almacenes, se sacudieron hasta el rabo y fueron a tumbarse dentro. Las pocas personas que estaban de pie como largas sombras junto a la calle entraron en la oficina de correos. Era un gran gesto inmarcesible de Octavia, aquel de acariciar el broche. Sino que tienes que escaparte, y no contestar cuando te llamo. Clytie fue a encender la cocina. Tuvo que subirlas por las escaleras, en el orden correspondiente.
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Ruby Fisher had the misfortune to be shot in the leg by her husband this week. She is led to a room shared by two old women residents in what turns into a nightmarish encounter from which the young girls runs screaming. In tow is a young girl of questionable parentage. The crossroads of the tour seems to converge literally at the Arabi intersection and metaphorically at all the exotic romance suggested by the name.
This dream state is interrupted by a boorish family that sets up stakes on the beach right next to her, in the process intruding upon her memory so irreparably that it will now be forever tainted.
Overnight, the two get into an argument resulting in one killing the other. Meanwhile, the salesman—unaffected by the violence—goes about his business as usual, revealing himself to be every bit as detached from genuine human closeness with friends and lovers as he is with the hitch-hikers he routinely picks up to keep him company on the road.
Recovering from a bad bout of the flu, the salesman wrecks his car and attempts to make his way to the only house in view. Somewhat similar to a much more famous Welty story, the literal journey is really just an excuse for the far more symbolic one taking place primarily inside his mind.
The metaphors begin with the name of the old, black woman who is making her way across that literal and symbolic path: Phoenix Jackson.
The story is a masterpiece of imagery and figurative language all working toward its multiple themes and dual level of meaning. Upon returning home, however, he discovers that she has not killed herself and she discovers that he is not as neglectful as he seemed.
This situation frees her to pursue the dream of the fast life with the raw emotional attraction she feels toward Cash McCord. Actually composed well before the perpetrator of that shocking crime was actually apprehended, the most astonishing thing about the story is just exactly how close to the mark the author came in what was purely speculative fiction at the time she wrote it.
The story of just another killing of a poor black man in Mississippi is used to underline the lack of meaning that black people had in the South during that time as individuals at all.
In a break with tradition and perhaps another nod to Faulkner, the reader is invited back into the South as the Civil War drags to its inevitable conclusion with Union soldiers burning down an old plantation and thus stimulating a narrative where death, lunacy and devastation of the past force the literal to collide with the metaphorical in literary conflagration as fiery as the burning manse.
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Tocage Whitaker to come after her? Max stared after him for a moment. Again she looked at him in delight. Eudora Alice Welty was an award-winning American author who wrote short stories and novels about the American South. Some of the bugs were clinging heavily to the yellow globe, like idiot bees to a senseless smell. Lady Evangeline said so. Was she at all curious about him?
A brief survey of the short story part 29: Eudora Welty
Lorinda B. The Farrs no longer have the financial clout or social power they had once as an important wealthy family of their town. The family consists of James Farr, the bedridden, comatose father; Gerald, the son who supposedly runs a furniture store but spends most of his time in bed; Octavia, the reclusive daughter whose wits have left her, according to the townspeople; and Clytie, the daughter who cooks, relays messages, and on occasion runs wildly through the town. Clytie is the only Farr who has not entirely given up association with people outside the family.
She grew up with younger brothers Edward Jefferson and Walter Andrews. Welty soon developed a love of reading reinforced by her mother, who believed that "any room in our house, at any time in the day, was there to read in, or to be read to. She later used technology for symbolism in her stories and also became an avid photographer, like her father. Wyatt C. At the suggestion of her father, she studied advertising at Columbia University. Because she graduated in the depths of the Great Depression , she struggled to find work in New York.