Eudora Welty

There is absolutely everything in great fiction but a clear answer.

Art, though, is never the voice of a country; it is an even more precious thing, the voice of the individual, doing its best to speak, not comfort of any sort, but truth. And the art that speaks it most unmistakably, most directly, most variously, most fully, is fiction; in particular, the novel.

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them. I suppose it's an early form of participation in what goes on. Listening children know stories are there. When their elders sit and begin, children are just waiting and hoping for one to come out, like a mouse from it's hole.

When one of us (children) caught measles or whooping cough and we were isolated in bad upstairs, we wrote notes to each other perhaps on the hour. Our devoted mother would pass them for us, after first running them in a hot oven to kill the germs. They came into our hands curled up and warm, sometimes scorched like toast.

In children's art class we sat in a ring of kindergarten chairs and drew three daffodils that had just been picked out of the yard; and while I was drawing, my sharpened yellow pencil and the cup of the yellow daffodil gave off wiffs just alike. That the pencil doing the drawing should give off the same smell of the flower it drew seemed part of the art lesson - as shouldn't it be? Children, like animals use all their sense to discover the world. Then artists come along and discover it the same way, all over again. Here and there, it's the same world. Or now and then we'll hear from an artist who's never lost it.

All children in those small-town, unhurried days had a vast inner life going on in the movies. Children were allowed to go without chaperone in the afternoons. My sense of making fictional comedy undoubtedly first caught its spark from the antic pantomime of the silent screen, and from having a kindred soul to laugh with.

Taking trips tore all of us up inside, for they seemed, each journey away from home, something that might have been less selfishly undertaken, or something that would test us, or something that had better be momentous, to justify such a leap into the dark. The torment and guilt - the torment of having the loved one go, the guilt of being the loved one gone - comes into my fiction as it did and does in my life. And most of all the guilt then was because it was true: I had left to arrive at some future and secret joy, at what was unknown, and what was no in New York, waiting to be discovered. My joy was connected with my writing; that was as much as I knew.

She (my mother) stood always prepared in herself to challenge the world in our place. She did indeed tend to make the world look dangerous, and so it had been to her. A way had to be found around her love sometimes, without challenging that, and at the same time cherishing it in its unassailable strength. Each of us children did, sooner or later, in part at least, solve this in different, respectful, complicated ways.

On the train I saw that world passing my window. It was when I came to see it was I who was passing that my self-centered childhood was over. But it was not until I began to write, that I found the world out there revealing, because memory had become attached to seeing, love had added itself to discovery, and because I recognized in my own continuing longing to keep going, the need I carried inside myself to know - the apprehension, first, and then the passion, to connect myself to it. Through travel I first became aware of the outside world; it was through travel that I found my own introspective way into becoming a part of it. This is, of course, simply saying that the outside world is the vital component of my inner life. My imagination takes its strength and guides its direction from what I see and hear and learn and feel and remember of my living world. But I was to learn slowly that both these worlds, outer and inner, were different from what they seemed to me in the beginning.

In real life I fell easily under the spell of all traveling artists. En route to New Orleans, entertainments of many kinds would stop over in those days for a single performance in Jackson's Century Theatre. Then, as now, my imagination was magnetized toward transient artists - toward the transience as much as the artists. I must have seen "Acrobats in a Park" at the time I wrote the story as exotic, free of any experience as I knew it. At the center of the little story is the Zorro's act: the feat of erecting a structure of their bodies that holds together, interlocked, and stands like a wall. Writing about the family act, I was writing about the family itself, its strength as a unit, testing its frailty under stress. I treated it in an artificial and oddly formal way; the stronghold of the family is put on view as a structure built each night; on the night before the story opens, the Wall has come down when the most vulnerable member slips, and the act is done for. But from various points within it and from outside it, I've been writing about the structure of the family in stories and novels ever since. In spite of my uncompromising approach to it, my fundamental story form might have been trying to announce itself to me.

Evere since I was first to read, then started reading to myself, there has never been a line read that I didn't hear. As my eyes followed the sentence, a voice was saying it silently to me. It wasn't my mother's voice, or the voice of any person I can identify, certainly not my own. It is human, but inward, and it is inwardly that I listen to it. It is to me the voice of the poem or the story itself. The cadence, whatever it is that asks you to believe, the feeling that resides in the printed word, reaches me through the reader-voice. I have supposed, but never found out, that this is the case with all readers - to read as listeners - and with all writers, to write as listeners. It may be part of the desire to write. The sound of what falls on the page begins the process of testing it for truth, for me. Whether I am right to trust so far I don't know. By now I don;t know whether I could do either one, reading or writing, without the other.

She read Dickens in the same spirit she would have eloped with him.

Learning stamps you with it's moments. Childhood's learning is made up of moments. It isn't steady. It's a pulse.

It was not my intention - it never was - to invent a character who should speak for me, the author, in person. A character is in a story to fill a role there, and the character's life along with its expression of life is defined by that surrounding - indeed is created by its own story. Yet, it seems to me now, years after I wrote The Golden Apples, that I did bring forth a character with whom I came to feel oddly in touch. She derived from what I already knew for myself, even felt I had always known. What I have put into her is my passion for my own life work, my own art. Exposing yourself to risk is a truth that Mrs. Eckhart and I had in common. What animates and possesses me is what drives Mrs. Eckhart, the love of her art and the love of giving it, the desire to give it until there is no more left. Of course any writer is in part all of his characters. How otherwise would they be known to him, occur to him, become what they are? In the making of her character out of my most inward and most deeply felt self, I would say I have found my voice in my own fiction.

What discoveries I made in the course of writing stories all begin with the particular, never the general. They are mostly hindsight: arrows that I now find I myself have left behind me, which have shown me some right, or wrong, way I have come. What one story may have pointed out to me is of no avail in the writing of another. But 'avail' is not what I want; freedom ahead is what each story promises - beginning anew. And all the while, as further hindsight has told me, certain patterns in my work repeat themselves without my realizing. There would be no way of knowing this, for during the writing of any single story, there is no other existing. Each writer must find out for himself, I imagine, on what basis he lives with his own stories.

Two by two, I read library books as fast as I could go, rushing them home in the basket of my bicycle. From the minute I reached our house, I started to read. Every book I seized on stood for the devouring wish to read being instantly granted. I knew this was bliss, knew it at the time. Taste isn't nearly so important; it comes in its own time. I wanted to read immediately. The only fear was that of books coming to an end.

I wanted to read immediately. The only fear was that of books coming to an end.

The frame through which I viewed the world changed too, over time. Greater than scene, I came to see, is situation. Greater than situation is implication. Greater than all of these is a single, entire human being, who will never be confined in any frame.