By Reine Dugas Bouton
Featuring the 1st full-length number of essays on Eudora Welty's novel, Delta marriage ceremony (1946), this quantity is the fourth booklet in Rodopi Press's discussion sequence. inside of those pages, rising and skilled literary critics have interaction in an exhilarating discussion approximately Welty's famous novel, offering a variety of scholarship that specializes in feminist issues, can pay tribute to the rhetoric of exclusion and empowerment, examines the position of outsider and bounds, explores meaning-making, and highlights the novel's humor and musicality. This quantity will without doubt be of curiosity to Welty aficianados in addition to southern experiences and feminist students and to people who have an interest within the craft of writing fiction.
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Extra resources for Eudora Welty's Delta Wedding. (Dialogue)
Works Consulted Albert, Richard N. An Annotated Bibliography of Jazz Fiction and Jazz Fiction Criticism. Westport: Greenwood P, 1996. , Alfred. A Season of Dreams: The Fiction of Eudora Welty. Baton Rouge: Louisiana State U P, 1965. Balliett, Whitney. Goodbyes and Other Messages: A Journal of Jazz, 1981-1990. New York: Oxford UP, 1991. 26 Barbara Sylvester Bearden, William. “The Story of Cotton” in The Southern Register, Center for Southern Culture. Jackson: U of Mississippi P (Fall 2005): 7. Davis, Thadious M.
Ev-e-ry kitch-en there—is a cab-a-ret— Down there the boll-weevil works—while the dark-ies play—This Yel-low Dog Blues————the live long day. (Handy Father, lyric 83, music 154; Smith, lyric 208-09)i The “Yellow Dog Blues” was there for Welty's purpose, and she used the gift in more ways than one. For in Delta Wedding, 16 Barbara Sylvester George Fairchild’s blues closely parallels, except for the gender reversal, Handy’s first and best-known “verse” or stanza of the “Yellow Dog Blues,” in which an abandoned lover moans the blues because her man has left her and she doesn’t know where he’s gone.
He was simply singing about Moorhead as he waited” (Handy Father 74). ” In its second “verse,” Handy recalls the Delta cotton land where, as a successful band leader playing all over the Delta—for audiences both black and white—he had made more money than he had ever made before. — Way down where—the South-ern cross’ the Dog,— Mon-ey don’t zact-ly grow on trees— On cot-ton stalks it grows with ease; No race horse, race track, no grand stand— Is like Old Beck an’ Buck-shot land— Down where—the Southern cross’ the Dog.