Katherine Anne Porter: Conversations, and: Truman Capote: Conversations, and: With All My Might, and: William Styron, and: The Southern Vision of Andrew Lytle (review)

1988 ◽  
Vol 34 (4) ◽  
pp. 642-643
Author(s):  
Margaret Jones Bolsterli
2021 ◽  
pp. 106-125
Author(s):  
William Todd Schultz

Chapter 6 provides an examination of findings related to the frequency of loss in the lives of artists, and how artists are motivated to shape loss and inner pain into creative products. Loss has been noted in the lives of artists for decades. It comes in the form of death; it comes in other ways, too. The chapter explores questions about the loss–art connection. What is it about loss that mobilizes creativity? What’s the nature of the correlation? Does loss propel art? The author outlines the role of trauma in creativity, with artist examples including Jorge Luis Borges, William Styron, Jack Kerouac, Truman Capote, and Patricia Highsmith.


1981 ◽  
Vol 16 (2) ◽  
pp. 168-169
Author(s):  
Mark Royden Winchell
Keyword(s):  

Books Abroad ◽  
1968 ◽  
Vol 42 (4) ◽  
pp. 545
Author(s):  
Henri Peyre ◽  
M. J. Friedman ◽  
A. J. Nigro
Keyword(s):  

1995 ◽  
Vol 67 (4) ◽  
pp. 882
Author(s):  
Kirk Curnutt ◽  
Gavin Cologne-Brookes
Keyword(s):  

2021 ◽  
Vol 82 (3) ◽  
pp. 345-369
Author(s):  
Michael Lackey

Abstract Biofiction is literature that names its protagonist after a historical figure, and since the 1990s it has become one of the most dominant literary forms. This is surprising because many prominent scholars, critics, and writers have criticized and even condemned it. This essay hypothesizes that postmodern theories of truth and concomitant transformations in reader sensibilities partly account for the legitimization and now dominance of biofiction. The essay analyzes a 1968 literary debate among Ralph Ellison, William Styron, and Robert Penn Warren, which on the surface concerned the uses of history in literature. But because it happened just one year after the publication of Styron’s controversial novel about Nat Turner, the debate ended up focusing primarily on the nature and value of biofiction. By analyzing the discussion in relation to contemporary formulations about and theorizations of biofiction, this essay illustrates why the forum represents a turning point in literary history, resulting in the decline of a traditional type of literary symbol and the rise of a more anchored and empirical symbol—that is, the type of symbol found in biofiction.


Janus Head ◽  
2015 ◽  
Vol 14 (2) ◽  
pp. 201-225
Author(s):  
Heather Fox ◽  

Katherine Anne Porter submitted a group of stories called “Legend and Memory” to The Atlantic Monthly in 1934, but instead of the reception she hoped for, The Atlantic Monthly responded with a request for significant revisions. These recommendations, as Porter adamantly explained, would change the collective meaning of the stories. And yet, Porter ultimately chose to concede, publishing the stories separately in other magazines before finally collecting them together again in The Leaning Tower and Other Stories (1944). Over the next twenty years, Porter would publish the stories (later called The Old Order stories) in two more collections— The Leaning Tower and Other Stories, The Old Order: Stories of the South from The Leaning Tower, Pale Horse, Pale Rider, and Flowering Judas and The Collected Stories of Katherine Anne Porter. Each time she chose not to edit individual stories but rearranged the order of the stories. Individually, each story is like a sketch, or one component of the protagonist Miranda’s construct of identity from the perspective of an adult looking backward and remembering as a child. And yet collectively, these stories reveal memory’s process of reconstruction and how the perspective of time transforms event through addition, elimination, and arrangement. Using text, correspondence, manuscripts, and cognitive research to examine the progression of Porter’s work on The Old Order stories in three collections over more than thirty years, “Representations of Truth: The Significance of Order in Katherine Anne Porter’s The Old Order Stories” traces the progressive ordering of these stories from their original submission to their final collection in The Collected Stories of Katherine Anne Porter (1965). This essay argues that Porter’s rearrangements reflect a reconstructive process of memory. Over time, the reorganization of The Old Order stories demonstrate a shift in Miranda’s memories from a chronological positioning to a representational ordering, allowing Miranda to reexamine her perspective on past experiences.


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