I wrote this the week Eudora Welty passed away and just found it again after all these years. It’s for her friends and admirers.
Eudora Welty died at the age of 92, in Jackson, Mississippi, the town where she lived most of her life. Until her health became frail a few years prior, she had been a fixture of daily life in her quiet, wooded neighborhood, but not in the way William Faulkner once prowled the streets of Oxford, where the bemused locals referred to him behind his back as “Count No-Count.” Miss Welty—for that is how everyone addressed her until they were sweetly admonished to use her first name instead—was a genteel, beloved, active member of the community. She could be seen pushing her grocery cart through the aisles of Jitney Jungle #14, inside its absurd and incongruous “English Village” façade, straining to reach a can on the top shelf but always bearing her beatific smile. She was a regular at Fannie Mae’s hair salon, where gab was as important as styling. One might easily pass her walking on the street in the sultry summer twilight. Never did anyone stop, point, whisper that they were in the presence of one of the towering figures in American letters.
That’s because Miss Welty did not tower. Her work did that for her.
She possessed two talents that many writers of prose tend to overlook, and about which most hotshot screenwriters, judging from their output, can only dream: Eudora Welty had exceptional eyes and ears. Her authorial might derives from a gloriously detailed visual atmosphere, and from her uncanny ability to replicate, and then enhance, the quirky Southern idiom she heard every day and had stored in memory from her girlhood. She enjoyed watching others exercise those talents, too, and was an ardent theatergoer in a time when Jackson sported more than one credible company. She served on the board of directors of New Stage Theatre, the pioneering group that had opened its doors in the mid-Sixties with a raging production of WHO’S AFRAID OF VIRGINIA WOOLF? at a point when the community was more accustomed to the likes of SOUTH PACIFIC, and she saw nearly every show there. That’s how I got to know her, and that’s when she became “Eudora” to me.
At cast parties in the ornate residences of Southern ladies who lunched, in the rarefied social strata unlocked by her accomplishments, she would come up to the smitten amateur actors and bestow the kindest praise. She didn’t like everything she saw and she told you so, but her scorn was usually reserved for the playwright. I always wanted to say, compared to what you do, we’re five-year-olds putting on a show with flashlights in Daddy’s living room. I even suspected that her enjoyment might be something like what Daddy feels for his lisping children. But that’s not how one accepts a compliment gracefully, and Eudora was the living embodiment of grace.
Once Ivan Rider, then New Stage’s artistic director, invited me to dinner with Eudora, just the three of us. Wow! I looked forward to the event eagerly but nervously. What could I possibly say to amuse her? After a cocktail or two—and she was never shy about cocktail hour—I realized she was using a conversational gambit that comes in handy any time: we were talking about me. But whereas most of us coax someone onto the subject of themselves just to break the ice, Eudora was simply feeding the natural curiosity that made her an unique cross between an artist and a journalist. Ivan had conspired to serve barbecued shrimp, a New Orleans delicacy. To partake, you throw some old newspapers on the table, dump out the shrimp, put on bibs and any other protection you might have, and peel your way through the spicy, delicious mess. Eudora said this was a great dish because its sloppiness washed away any pretense, and diners would always “rise from the table as friends.” By this time, she was talking about herself. She’d just read a novel by a then-fashionable and wildly successful Southern author, and was not impressed: “Honey, you may think you’ve got it. But you don’t.”
The last time I saw Eudora, a friend had asked if I might facilitate some inscribed books for Christmas presents. Eudora insisted that we both come over. On the day, I was mortified that my friend was lugging an imposing stack of COLLECTED STORIES—I thought too many. But its author couldn’t have been more gracious, as ever. On her table was the current issue of Newsweek, with its stark black-and-white cover photo of John Lennon. She was quite disturbed over Lennon’s murder, not as a Beatles fan—she said she liked some of their melodies but I didn’t sense any particular passion—and not just for the potential work that the world wouldn’t get to hear, but chiefly for its meaninglessness; why slaughter an artist who had never hurt anyone? The culture of insanity had already introduced itself with Charles Manson, but we had not yet arrived at the point where schoolchildren took revenge on their tormentors with bullets. Eudora was perplexed over Mark David Chapman. Her vast empathetic skills were of no use here. She couldn’t put herself in his place. In the ensuing years, I’m sure she had to wrestle with this problem again and again, but by then I had moved away, to New York. And then she was gone.