A Quote by Frances Mayes

When I was twelve, I started reading Eudora Welty, Thomas Wolfe, Flannery O'Connor, James Agee, and - do we dare breathe the name - William Faulkner. — © Frances Mayes
When I was twelve, I started reading Eudora Welty, Thomas Wolfe, Flannery O'Connor, James Agee, and - do we dare breathe the name - William Faulkner.
Our most famous writers are Faulkner and Eudora Welty and Flannery O'Connor. It would make sense that the poetry would reflect some of those same values, some of the same techniques.
A Daring Life: A Biography of Eudora Welty is a beautifully written portrait of Eudora Welty and her amazing life. Carolyn J. Brown carries the reader through Welty's long, productive writing career and introduces her family and friends along the way. The book's very readable text, its lovely use of Welty quotes, and its excellent photographs make the work a treasure. This intimate look at Eudora Welty is a welcome addition for her readers.
I'm really influenced by Southern novelists, not many movie people. More like John Faulkner, William Faulkner, Erskine Caldwell, Flannery O'Connor, John Steinbeck, and people like that.
I never got too specialized but did like the Southern Gothic writers like William Faulkner and Flannery O'Connor.
So I'm not a Southern writer in the commonly held sense of the term, like Faulkner or Eudora Welty, who took the South for their entire literary environment and subject matter.
I like big doses of grief when I read: Richard Yates, Flannery O'Connor, Kenzabaro Oe, Thomas Bernhard.
It wasn't until I started to read short stories - by people like Alice Munro, Mavis Gallant, John Updike... Eudora Welty - that I became excited about the possibilities of writing.
I am very indebted to southern writers and not just Flannery O'Connor. Also Harry Crews, Larry Brown, Tennessee Williams, Barry Hannah and William Gay.
I learned to be a regional writer by reading people like Flannery O'Connor. She was a huge influence.
I've always been drawn to dark stories. I enjoy reading Flannery O'Connor, Patricia Highsmith, and Margaret Mitchell.
I actually thought I wanted to be Thomas Wolfe, but I didn't have the talent. So I thought I could edit Thomas Wolfe.
Do you think that Hemingway knew he was a writer at twenty years old? No, he did not. Or Fitzgerald, or Wolfe. This is a difficult concept to grasp. Hemingway didn't know he was Ernest Hemingway when he was a young man. Faulkner didn't know he was William Faulkner. But they had to take the first step. They had to call themselves writers. That is the first revolutionary act a writer has to make. It takes courage. But it's necessary
I love reading. I'm fortunate enough to have signed books by Faulkner, Steinbeck, Thomas Pynchon.
I like [John Cardinal O'Connor] a lot. He - I started a - to know him - when I asked William Shawn at The New Yorker, `Sh - can I do a profile of Cardinal O'Connor?' He said, `All right. Find out what he's like.' So I went to his office, and I heard somebody - and it turned out to be O'Connor - yelling outside, and I've never heard him since raise his voice.
One of the great pleasures of reading Tom Wolfe - of still reading Tom Wolfe - is the sense of awe he consistently inspires.
The phrase the violent bear it away fascinated the 20th century Irish-American storyteller Flannery O'Connor, who used it as the title of one of her novels. O'Connor's surname connects her to an Irish royal family descended from Conchobor (pronounced Connor), the prehistoric king of Ulster who was foster father to Cuchulainn and husband of the unwilling Derdriu. In the western world, the antiquity of Irish lineages is exceeded only by that of the Jews.
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