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What There Is to Say We Have Said: The Correspondence of Eudora Welty and William Maxwell, by Suzanne Marrs
Free PDF What There Is to Say We Have Said: The Correspondence of Eudora Welty and William Maxwell, by Suzanne Marrs
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Eavesdrop on one of the most celebrated literary friendships in American letters
"An epistolary feast for literary fans [and] a confidence booster for aspiring writers everywhere. A–" —Entertainment Weekly
"If friendship is an art, this volume is its masterpiece." —Lee Smith
"A remarkable testimony to friendship, literature, and an abiding love of life." —Richmond Times-Dispatch
What There Is to Say We Have Said bears witness to Welty and Maxwell’s more than fifty years of friendship and their lives as writers and readers. It serves as a chronicle of their literary world, their talk of Katherine Anne Porter, Salinger, Dinesen, Updike, Percy, Cheever, and more. Through more than three hundred letters, Marrs brings us the story of a true, deep friendship and an homage to the forgotten art of letter writing.
"A vivid picture of twentieth-century intellectual life and a record of a remarkable friendship... Glorious." —Houston Chronicle
"Full of great tidbits about The New Yorker back in the day ... Charming." —The New Yorker
"These letters evoke a lost world when events moved a bit more slowly, and friends could take the time to be both eloquently witty and generous with each other, and letters were unobtrusively artful about daily life. Welty and Maxwell are like two birds of the same species, calling to each other across the distances." —Charles Baxter
- Sales Rank: #1052404 in Books
- Brand: Marrs, Suzanne (EDT)
- Published on: 2012-05-22
- Released on: 2012-05-22
- Original language: English
- Number of items: 1
- Dimensions: 7.80" h x 1.30" w x 5.30" l, 1.10 pounds
- Binding: Paperback
- 528 pages
From Publishers Weekly
While Welty and her New Yorker editor Maxwell were contemporaries, he 34, she 33 when they first met at a New York literary party in 1942, they seemed to be virtual opposites. He was a devoted family man; she was a loner. His nearly 200 letters to her divulged his entire personality; among the surviving letters, Welty omitted any reference to the love of her life, married crime novelist Ross Macdonald. But Welty and Maxwell recognized from the get-go that they were kindred spirits. The correspondence of this volume, gracefully edited and annotated by Welty's biographer Marrs, takes off in 1951, when the New Yorker began to publish Welty's fiction. Maxwell was an accomplished writer, too, and in these unfailingly cozy letters, which take us up to the 1990s into his old age, the pair discuss not only their work together and apart, but the orchids they loved, their day-to-day lives, and the writers they admired, from Virginia Woolf and Dylan Thomas to J.D. Salinger. Both correspondents were blessed with personality-plus, mirrored in these letters. Also included are one essay, one speech, and one reader's report by Maxwell. Photos. (May 12)
(c) Copyright PWxyz, LLC. All rights reserved.
Review
"A map into the very heart of friendship and creativity. Every page is a privilege to read."
—Ann Patchett
"An epistolary feast for literary fans [and] a confidence booster for aspiring writers everywhere. A–"
—Entertainment Weekly
"If friendship is an art, this volume is its masterpiece."
—Lee Smith
"A remarkable testimony to friendship, literature, and an abiding love of life...An invitation to draw up a chair and enjoy two good friends as interested in their rose gardens as their writing."
—Richmond Times-Dispatch
"A vivid picture of twentieth-century intellectual life and a record of a remarkable friendship... Glorious."
—Houston Chronicle
"Full of great tidbits about The New Yorker back in the day ... Charming."
—The New Yorker
"A raft of tender, day-to-day details ... Like eavesdroppers on a party line, we’re privy to everything ... In today’s world of texting, Twitter and Facebook, where our empathy for others is often reduced to a ‘like’ button, coming across such a sustained account of a friendship is like shining a flashlight on the cave walls at Lascaux ... How fortunate we are that their kinship endured long enough for them to say everything there was to say."
—Atlanta Journal-Constitution
"Beautifully expressive ... [Marrs] has performed an important service here ... A valuable record of the authors’ writing process ... Maxwell and Welty, of course, loved to write, and writers and readers will be awed to learn of both the macro and the micro."
—Cleveland Plain Dealer
"[Maxwell and Welty’s] love, a source of sustenance and strength between two great writers, is also a bright tonic for the readers of this volume, which affirms Welty’s belief that to read someone’s letters ‘is in some way to admit him to our friendship.’"
—Christian Science Monitor
"These loving and revealing letters guide us back to the fiction of both authors."
—Wall Street Journal
"A valuable portrait of a unique and lasting friendship, and a celebration of a certain kind of joy that is rapidly disappearing—the joy of writing and sending, receiving and reading personal letters."
—Tulsa World
"This collection of letters takes us into the world of Eudora and William. We get to see how their friendship deepened over time and became something special."
—San Francisco Book Review
"To read What There Is to Say We Have Said is to feel the noise and speed of the present era fall away, to sense the natural world reasserting itself. Time slows, and you arrive in a more pastoral moment."
—The Progressive Reader
"For 50 years, Welty and Maxwell communicated in full detail, with deep and genuine affection, serving up revelations about themselves that give these literary figures a greatly wonderful human dimension . . . This is one of the richest and most riveting collections of famous-people letters to emerge in some time." —Booklist
"Inspiring . . . A vivid snapshot of 20th-century intellectual life and an informative glimpse of the author-editor relationship, as well a tender portrait of devoted friendship."
—Kirkus Reviews
"The correspondence of this volume [is] gracefully edited and annotated by Welty’s biographer Marrs . . . Both correspondents were blessed with personality-plus, mirrored in these letters."
—Publishers Weekly
"How rewarding to become the third person present in the discoveries of life and literature between Eudora Welty and William Maxwell. I have always believed the only ‘knowing’ one can have of a fiction writers is through the fiction itself; but here, in the personal medium of to-and-fro wit and vitality, is to be had further experience of the writer Eudora Welty, whose stories, in particular, have opened my vision of human relations."
—Nadine Gordimer
"Something truly special happened each time Eudora Welty and William Maxwell wrote a letter to the other. Suzanne Marrs has collected more than 300 of those letters and set them into a time and context. Anyone who relishes and celebrates the magic use of words, storytelling and friendship will treasure the end result forever."
—Jim Lehrer
"This book lets us in on the happy fact that two splendid writers, who did not sacrifice humanity to career, were warmly admitted to each other’s lives. Its generosity of tone is such that the readers feels not a trespasser but a guest. Suzanne Marrs’s editing is worthy of a delightful text."
—Richard Wilbur
"A complex improvisation carried on for years by two artists for whom nothing in the realm of literature or feeling was remote."
—Alec Wilkinson
"A literary revelation. Suzanne Marrs’s editing of this rich collection is superlative."
—Roger Mudd, journalist and broadcaster
From the Inside Flap
"A complex improvisation, carried on for years, by two artists for whom nothing in the realm of literature or feeling was remote." --Alec Wilkinson For over fifty years, Eudora Welty and William Maxwell, two of our most admired writers, penned letters to each other. They shared their worries about work and family, literary opinions and scuttlebutt, moments of despair and hilarity. Living half a continent apart, they nourished and maintained their friendship through correspondence." What There Is to Say We Have Said "bears witness to Welty and Maxwell's editorial relationships -- both in his capacity as her "New Yorker "editor and in their collegial back and forth on their work. It also serves as a chronicle of the literary world of the time; read talk of James Thurber, William Shawn, Katherine Anne Porter, J. D. Salinger, Isak Dinesen, William Faulkner, John Updike, Virginia Woolf, Walker Percy, Ford Madox Ford, John Cheever, and many more. It is a treasure trove of reading recommendations. Here, Suzanne Marrs -- Welty's biographer and friend -- offers an unprecedented window into two intertwined lives. Through careful collection of more than three hundred letters as well as her own insightful introductions, she has created a record of a remarkable friendship, an illuminating look at artists in community, and a lyrical homage to the forgotten art of letter writing.
Most helpful customer reviews
16 of 17 people found the following review helpful.
Fine wine, twice fermented.
By amazonbuyer
I thoroughly enjoyed reading "What There Is to Say We Have Said". Welty and Maxwell were gifted writers. Just like the champagne Bill loved, their intellects were twice fermented. First with their genius and then with their discipline, creating the perfect interplay between reality and the ethereal.
These letters reveal what normal lives both writers lived. One of the funniest illustrations of this comes when Bill mentioned that "Brookie has picked up her room." That he underlined this comment about his daughter's accomplishment needs no explanation.
As I read "What There Is to Say", time seemed to slow down for me. Welty and Maxwell seemed to relish every moment, rather than making everything rushed and urgent. It was as if they took the minutes of each day into the palms of their hands, touching them, slowly inspecting and memorizing them from every possible angle, before reluctantly releasing them. This was demonstrated most clearly in Bill's recount of an evening with Isak Dinesen.
Maxwell captured every aspect of Dinesen's appearance and soul as he perceived her. He spoke of his conversation with her and how he "worshipped her all through dinner". Dinesen came alive for me. The moment is frozen in time because he did not rush through it or focus on himself. He honed in on Dinesen and wrote of the beauty and elegance of every movement and inflection. It was as if he was personally slowing time down for the enjoyment of the moment that would soon pass by. Maybe in this way writing is like parenting, if you want to be good at it you cannot be selfish. You have to be willing to spend time focusing on others.
I highly recommend this book to anyone who loves Welty, Maxwell, and their contemporaries. It is a superb peek into the normal and remarkable lives of these two incredible authors.
Note: The back cover of the book states that Welty was a loner. I tend to disagree. Welty was not a social butterfly, but she did not push the world away either. Because she cared for her mother for most of her adult life, she selectively embraced people. Her social mobility was limited. Her circumstances required that she be very particular about the people she allowed into her inner circle.
9 of 10 people found the following review helpful.
What Eudora and Bill Have To Say
By Shannon L. Yarbrough
Eudora Welty once said "Never think you've seen the last of anything." And just when I thought that the art of letter writing was truly dead, Suzanne Marrs gives us such art reminding us that although technology such as email and a faster paced society may be responsible for the lack of letter writing, the art of it is still here for us to enjoy. And Marrs' artwork comes to us in the form of a lovely volume of the letters shared between William Maxwell and Eudora Welty over the course of some 50 years.
It begins in the 1940s when Maxwell was editing for the New Yorker. He'd met Eudora at a party and later wrote to her asking for a short story for the New Yorker. Her first couple of stories were rejected, but a kind friendship evolved from that request, and readers get a "Peeping Tom" view at it from the letters the two magnificent writers penned to one another.
Imagine coming across a stack of letters in the dusty attic of a long gone loved one and you sit down to read them. You are overcome with tears and smiles at the pieces of history and of their lives that the letters suddenly reveal to you. If you are a fan of either of these wonderful authors, that's kind of how you will feel upon reading this book.
Eventually some of Welty's stories were accepted thanks to Maxwell's efforts, along with the entire novella The Ponder Heart, so Maxwell became not only her friend but her editor. The craftmanship of writing and editing shared between the two is truly inspiring, especially if you have read any of Welty's work that is mentioned. If you haven't, then get ready to visit the library because you will want to read it. Maxwell's own great work is also mentioned as he seeks out Eudora's writerly advice on characterization and plot.
Outside of work, the two carry on about trips to Europe, other authors and books they've read, pets, and their love of roses. Emmy, Bill's wife, even penned a few letters to Welty, the first thanking her for some rose cuttings. Marrs explains in the introduction what letters were left out and why, but don't worry. There are very few and this is indeed a very nice complete collection. It made me want to revisit both these authors and their work very soon.
I highly suggest you ear mark the very thorough notes section in the back of the book. Marrs has carefully numbered numerous references that the authors make in their letters, and advised you of what they are talking about. I thumbed back and forth between the letters and the notes almost on every other page. Marrs is to be commended for her hard work and efforts. It is much appreciated and lovers of these two writers and their work will indeed have a better sense of these two American authors and their place in life and literature.
5 of 5 people found the following review helpful.
One friendship's beginnings
By Steve Schwartz, Austin
Eudora Welty achieved classic status in the Fifties and has kept it. William Maxwell -- novelist, short-story writer, essayist, and legendary New Yorker editor -- was always a "writer's writer," although he has a volume in the Library of America. Maxwell fell in love with Welty's writing early, when it mattered. He lobbied hard for her inclusion in The New Yorker, despite the aversion of the editor, Harold Ross, for her work. His persistence paid off. The magazine published Welty's Ponder Heart and just about everything else she sent them from then on.
In the process of correspondence and Maxwell's close editing of Welty's writing for the magazine, they became friends. When Welty visited New York, they met and fell further into friendship. They came to consider one another family.
I enjoy reading letters, but only from people who know how to write them. No worries here. Some correspondences between literary folk are conscious literary productions. The writers know that not only just the addressee, but posterity will be reading them as well. Although such letters exist in the Welty-Maxwell collection, they are fairly rare and were produced for specific circumstances. For example, Maxwell's contribution to a Welty Festschrift took the form of a letter. Generally, however, this is not the case. These are two friends essentially keeping in touch. The letters may lack the finish of their stories and essays, but that doesn't deny their literary qualities. Two wonderful writers just can't help themselves, and there's a lot of play between them. They can't break the habit of entertaining their listeners, readers, and friends.
The letters tend to reflect (no big surprise) the writers' habits as writers. Eudora Welty comes up with linguistic flourishes, as in:
The train ride here, down the hypotenuse to Texas,
is utter peace. When you leave the city goes away
immediately and it's mountains, or valleys with
beautifully plowed fields and yellow barns till dark.
That wonderfully original "hypotenuse," for one thing, and the habitual, constant notice characterize Welty's stories as well.
Though he's a master describer, Maxwell's prose is more direct and aims at moral penetration -- again, just like his stories. This passage will suffice:
I lost, in a manner of speaking, Judith Raskin and
Robert Fitzgerald last year. When I was a young man
one of my mother's friends said to me, "I have never
become reconciled to her death." I thought, how strange.
It doesn't seem so now. One doesn't want to become
reconciled. When you come I will play Judith's recording
of the Pergolesi Stabat Mater. They both go right on
being part of my life. From our living room windows you
can look into the Raskins' apartment, which used always
to be lighted up and now isn't ever. [Her husband] Ray
cannot bear to be home. Since the beginning of the world
this has been going on, hasn't it.
The two talk of family -- mainly Maxwell's wife and children and Welty's mother and nieces -- gardening, particularly roses (cuttings of which they send to one another), literary friends, some politics in passing, movies, museum shows, books, food, and plays. They encourage one another over rough spots in the progress of their writing. Indeed, neither says one negative word to the other. It's pure encouragement.
Maxwell and Welty, born only a year apart and growing up in small towns, immediately recognized that they had large portions of their lives in common, that they knew each other instantly. This correspondence records the deepening of an immediate friendship.
Welty scholar Suzanne Marrs has provided linking commentary -- just enough -- and a wonderfully clear set of endnotes. If I have any quibble, it's that I wish the endnotes section had page ranges at the top of each page.
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