This complete collection includes all of the published stories of Eudora Welty. There are 41 stories in all, including those in the earlier collections A Curtain of Green, The Wide Net, The Golden Apples, and The Bride of the Innisfallen, as well as previously uncollected stories.
The full cast of narrators includes Jessica Almasy, Victor Bevine, Marc Boyett, Jonathan Davis, Colman Domingo, Jeremy Gage, L. J. Ganser, Gayle Hendrix, Khristine Hvam, Allyson Johnson, Katy Kellgren, Kevin Pariseau, Elisabeth Rodgers, Barbara Rosenblat, Eileen Stevens, Suzanne Toren, Marc Vietor, Ollie Wyman, and Gabra Zackman.
©1980 1980, 1966, 1963, 1955 by Eudora Welty. C. 1954, 1952, 1951, 1949, 1948, 1947, 1943, 1942, 1941, 1939, 1938, 1937, 1936 by Eudora Welty. Copyright renewed 1994, 1991, 1980, 1979, 1977, 1976, 1975, 1971, 1970, 1969, 1967, 1966 1965 by Eudora Welty. (P)2011 Audible, Inc.
"Eudora Welty is one of our purest, finest, gentlest voices, and this collection is something to be treasured." (Anne Tyler, Washington Star)
"The richness of such talent resists a summing up.... She is always honest, always just. And she is vastly entertaining. The stories are magnificent." (Maureen Howard, The New York Times Book Review)
“An expansive cast of performers delivers Welty’s 41 published stories. While all the performances are strong…it is the female narrators who shine on these recordings. Their voices are especially capable of performing the acrobatics involved in the social maneuverings of Welty’s steel magnolias. Dialogue is nuanced—many exchanges sound so authentic that it’s almost as if the listener is watching a play rather than hearing prose. Welty’s unique stories of hope, love, and redemption are enlivened by all the performers on this extensive collection.” (AudioFile)
(I've given fewer stars for performance, because some performances here are better than others).
Based on what I've been hearing on this recording, Eudora Welty may be the best American writer of the 20th Century. (For me, for my taste) Hard to tell. So I've got to read her on the page. I've bought this book, now, from Amazon. I can't listen to it anymore because I want to constantly stop, go back, and read stuff over, asking, "WHAT did she just say?!." I can't believe an American writer I haven't read before (I'm old and I've been reading all my life) can be so impossibly good.
Usually I LISTEN to books to escape. Audio is fine for that. But this is escape of a different kind entirely. It's a glimpse into the real world made magical by descriptions that make you catch your breath. I may change my mind after pursuing her onto the page. I don't think so, though.
Say something about yourself!
I have read and listened to 'The Collected Stories of Eudora Welty', not all in one go, a few or one at a time, between novels or for a break, in a car on NPR, and on a plane to escape my seat companion, and I am always taken completely from myself into a world of word as music. The common and tragic tales of survivors, living as best they do, in the chaos of being alive.
The narrators are not all meant to be reading these stories to us, sadly, as much as they may love the author, but don't let those few stop you from purchasing this excellent collection. You will be transported!
The collection is exhaustive, covering her entire portfolio. It is purposefully inclusive of her impressive span of writing. That being said, Eudora tends to leave her story endings as wide open as her eyes always were. Short stories with great characters and fantastic depth play across the pages, make you care who they are, what they feel. Then, snap, Eudora changes stories and her characters are left hanging in the air. I suppose even that is the mark of a fantastic story-teller. What's better than a lively character who is unresolved? Well, perhaps a lively character who is resolved. Still, she makes you come back for more.
Yes. In fact, I have several volumes of her works in writing.
Some of them. Others were not enjoyable at all in context with a SOUTHERN writer. A southern drawl is completely necessary when reading Eudora Welty aloud...
She did plenty of that.
Would be a great tool for teachers, if teachers are still allowed to teach creative writing.
I was initially appalled by the arch and phoney accent of the initial narrator reading Welty's preface. Happily most of the readings are better than that, some of them actually quite good. The stories themselves, it it almost needless to say, are varied and splendid.
Retired to mountains of California. Sell on eBay as Prsilla. No TV. Volunteer in wildlife rehab. Knit, sew or embroider while listening.
Finally on "Good Reads" I found a few other people who had the courage to admit they really didn't like Welty. I majored in English. Well, not at a very good school. My dad drove a Mercedes but didn't see fit to send me to USC. Anyway, now I'm old and have nothing to prove. I'm here for enjoyment, thank you! I'm spoiled by Diana Gabaldon, Alexandre Dumas, Bryce Courtenay and so many other wonderful story-tellers. I love long novels, but I don't think it's the short story form that's the problem. I enjoy Hemingway and O. Henry very much! No, I think Welty is an intellectual snob, and too many people are reluctant to say they don't get it or find no resonance. Well, I was stationed in Mississippi and found it almost a foreign country compared to California. I really should have known I would not like this. Barbara Rosenblatt must be a wonderful actress because she manages that nauseating down home accent like a native. So ugly! Oh, yeah, it's subtle! So subtle I'm nodding off. No, I don't get it and while I realize "it" may be there somewhere, I'm not willing to use a nutpick to pull "it" out. Not when the man knifed his pregnant wife or the little girl tipped on over into the rain barrel. I don't relish insanity or off-the-wall sicko. Whimsical or surprising would have been nice. The story about Aaron Burr is faintly interesting, also the point of view of the deaf boy who apparently had been taught to read before he lost his folks. All in all, thus far I feel that Welty thinks she can share the entirety of her weird mind with the whole world whether or not we find it uplifting or exciting or funny.
Years ago when "In Cold Blood" appeared in New Yorker magazine, I chanced on it and could not put it down. Yes, that was violent and twisted and horrible -- and also well-written, but based on true events. I really enjoyed that writing. Somehow, this Welty stuff is different for me -- or I'm different now.
I've read and enjoyed all the Sarah Orne Jewett stories as print books. She is subtle and moves very slowly, but with normalcy and oftentimes some humor. Many people would say that's like watching paint dry, but . . . remember the elderly poor trying to refurbish their best bonnets?
The silent space between these stories is way too short! Maddening! No time to stop in between. Hard to tell when Welty has arrived at her too darned subtle endings. One of the male narrators drops words in a terribly sensitive way but if I can't hear the word, I won't get the story! I have no problem with non-Southerners reading this material. In fact, that was better for me. If you enjoy un-beautiful Mississippi "beauty"-shop conversation -- and I don't! -- you'll love Barbara Rosenblatt's reading. All that what-will-people-think small-town stuff and people getting in a snit and . . . I'm bailing. Good-bye!
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