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This might be a rash conclusion for this Northern-based reviewer, a concession to political correctness, surrendering to a desire to be seen as somebody trying to navigate in an idealistic “post-racial” world, but it was the first feeling that came to me after finishing this large collection of 41 stories taken from four books and spanning 14 years (1941-1955.) Two selections in a section called “Uncollected Stories”, (1963’s “Where Is the Voice Coming From?” and 1966’s “The Demonstrators”) hint at the possible avenues Welty could have traveled had she stripped down the layers of literary structure and sense of place in favor of direct contact with a world outside of Mississippi. The Collected Stories of Eudora Welty, a 1983 National Book Award Winner, has been re-released this year to a reading public that may or may not need it. We will age, but the strength and dependability coming from the work of the greatest American short story masters will never diminish. Readers who make friends, if you will, in the works of these great American writers (and so many others) at impressionable reading ages can be comforted by more visits as the years pass.
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It usually takes major shifts in the winds of intellectual sensibility to bring such authors down from their pedestals. For those writers, and many more who toiled in all manner of writing forms (short story, novels, plays, and more) reputation and status is solid. Scott Fitzgerald and enters without the baggage of critics or general evaluators, the experience can be revelatory.
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If the reader is unfamiliar with the short story work of American monolith writers like William Faulkner, Ernest Hemingway, or F. Sometimes the prospect of reviewing the work of an understood American short story master can be both daunting and reassuring.