<abstract xmlns="http://www.w3.org/1999/xhtml"><p>Known for her lyrical evocations of the American South, Eudora Welty’s short story “Where is the Voice Coming From?” is unique in her oeuvre for both its intense topicality and its direct treatment of the Southern racism that is often only obliquely acknowledged in her fiction. This article examines how Welty maintains her characteristically deep sympathy for her characters, and her profound attention to detail, while narrating the event of a horrific and racist murder. Furthermore, by providing biographical details of the real life “Goat Dykeman”, G.W. Hydrick, informed readers see how even in a brief story about contemporary events, Welty is continually aware of regional history and assumptions, and she uses details, sometimes very subtly, to attach layers of meaning to her stories.</p></abstract>

Known for her lyrical evocations of the American South, Eudora Welty’s short story “Where is the Voice Coming From?” is unique in her oeuvre for both its intense topicality and its direct treatment of the Southern racism that is often only obliquely acknowledged in her fiction. This article examines how Welty maintains her characteristically deep sympathy for her characters, and her profound attention to detail, while narrating the event of a horrific and racist murder. Furthermore, by providing biographical details of the real life “Goat Dykeman”, G.W. Hydrick, informed readers see how even in a brief story about contemporary events, Welty is continually aware of regional history and assumptions, and she uses details, sometimes very subtly, to attach layers of meaning to her stories.

From “Big Red” Hydrick to Goat Dykeman: Eudora Welty’s Navigation between the Fictional and the Real in “Where Is the Voice Coming From?”

Prague Journal of English Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Known for her lyrical evocations of the American South, Eudora Welty’s short story “Where is the Voice Coming From?” is unique in her oeuvre for both its...

From “Big Red” Hydrick to Goat Dykeman: Eudora Welty’s Navigation between the Fictional and the Real in “Where Is the Voice Coming From?”

Publié en ligne: 06 sept. 2018

Pages: 79 - 95

DOI: https://doi.org/10.1515/pjes-2018-0005

Mots clés
American South, Southern racism, Civil Rights Movement, Medgar Evers, Byron De La Beckwith, “Big Red” Hydrick, Goat Dykeman

© 2018 Quan-Manh Ha et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

From “Big Red” Hydrick to Goat Dykeman: Eudora Welty’s Navigation between the Fictional and the Real in “Where Is the Voice Coming From?”

Publié en ligne: 06 sept. 2018

Pages: 79 - 95

DOI: https://doi.org/10.1515/pjes-2018-0005

Mots clésAmerican South, Southern racism, Civil Rights Movement, Medgar Evers, Byron De La Beckwith, “Big Red” Hydrick, Goat Dykeman

© 2018 Quan-Manh Ha et al., published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Mots clés
American South, Southern racism, Civil Rights Movement, Medgar Evers, Byron De La Beckwith, “Big Red” Hydrick, Goat Dykeman