Book contents
- Frontmatter
- Contents
- Acknowledgements
- Chapter 1 Introduction
- Chapter 2 The short story as ironic myth: Washington Irving and William Austin
- Chapter 3 Nathaniel Hawthorne
- Chapter 4 Edgar Allan Poe
- Chapter 5 Herman Melville
- Chapter 6 New territories: Bret Harte and Mark Twain
- Chapter 7 Realism, the grotesque and impressionism: Hamlin Garland, Ambrose Bierce and Stephen Crane
- Chapter 8 Henry James
- Chapter 9 Rebecca Harding Davis, Sarah Orne Jewett and Mary Wilkins Freeman
- Chapter 10 Charlotte Perkins Gilman, Kate Chopin, Edith Wharton and Willa Cather
- Chapter 11 Growth, fragmentation, new aesthetics and new voices in the early twentieth century
- Chapter 12 O. Henry and Jack London
- Chapter 13 Sherwood Anderson
- Chapter 14 Ernest Hemingway
- Chapter 15 F. Scott Fitzgerald
- Chapter 16 William Faulkner
- Chapter 17 Katherine Anne Porter, Eudora Welty and Flannery O'Connor
- Chapter 18 Charles Chesnutt, Richard Wright, James Baldwin and the African American short story to 1965
- Chapter 19 Aspects of the American short story 1930–1980
- Chapter 20 Two traditions and the changing idea of the mainstream
- Chapter 21 The postmodern short story in America
- Chapter 22 Raymond Carver
- Chapter 23 Epilogue: the contemporary American short story
- Notes
- Guide to further reading
- Index
Chapter 17 - Katherine Anne Porter, Eudora Welty and Flannery O'Connor
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Acknowledgements
- Chapter 1 Introduction
- Chapter 2 The short story as ironic myth: Washington Irving and William Austin
- Chapter 3 Nathaniel Hawthorne
- Chapter 4 Edgar Allan Poe
- Chapter 5 Herman Melville
- Chapter 6 New territories: Bret Harte and Mark Twain
- Chapter 7 Realism, the grotesque and impressionism: Hamlin Garland, Ambrose Bierce and Stephen Crane
- Chapter 8 Henry James
- Chapter 9 Rebecca Harding Davis, Sarah Orne Jewett and Mary Wilkins Freeman
- Chapter 10 Charlotte Perkins Gilman, Kate Chopin, Edith Wharton and Willa Cather
- Chapter 11 Growth, fragmentation, new aesthetics and new voices in the early twentieth century
- Chapter 12 O. Henry and Jack London
- Chapter 13 Sherwood Anderson
- Chapter 14 Ernest Hemingway
- Chapter 15 F. Scott Fitzgerald
- Chapter 16 William Faulkner
- Chapter 17 Katherine Anne Porter, Eudora Welty and Flannery O'Connor
- Chapter 18 Charles Chesnutt, Richard Wright, James Baldwin and the African American short story to 1965
- Chapter 19 Aspects of the American short story 1930–1980
- Chapter 20 Two traditions and the changing idea of the mainstream
- Chapter 21 The postmodern short story in America
- Chapter 22 Raymond Carver
- Chapter 23 Epilogue: the contemporary American short story
- Notes
- Guide to further reading
- Index
Summary
Katherine Anne Porter
From the 1920s to the 1950s there was a remarkable flowering of the Southern short story in the work of three writers: Katherine Anne Porter (1890–1980), Eudora Welty (1909–) and Flannery O'Connor (1925–64). Katherine Anne Porter came originally from Texas, from a family with illustrious Southern roots. She saw herself above all as a writer of short stories, publishing five main volumes: Flowering Judas (1930), Flowering Judas and Other Stories (1935), Pale Horse, Pale Rider (1939, three longer stories or novellas, comprising the title story, ‘Old Mortality’ and ‘Noon Wine’), The Leaning Tower and Other Stories (1944) and The Old Order. Her Collected Stories were published in 1964. Her single novel, The Ship of Fools, by contrast took her over twenty-five years to write, and did not appear until 1965.
In Flowering Judas the title story draws on Porter's experience of Mexican revolutionaries in the 1920s. It is a portrait of a chaste young woman (based on an Irish girl Porter knew) who dutifully helps with the revolution but is averse to the blandishments of the overweight, self-indulgent leader Braggioni (who sings to her, excruciatingly, accompanying himself on his guitar) and holds herself conscientiously aloof from him. The predominant tone seems to be sardonic, but it is complicated by a strain of romantic longing in the heroine who at the end dreams of escaping with a young prisoner she has been visiting in the local jail: the dream turns into a nightmare of death and sacramental murder, as she eats the petals of the Judas tree outside her window and the young prisoner calls her ‘murderer’ and ‘cannibal’.
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- Information
- The Cambridge Introduction to the American Short Story , pp. 170 - 182Publisher: Cambridge University PressPrint publication year: 2006