Series 1: Uncollected Stories, Eudora Welty Collection (Z/0301)

Series 1: Uncollected Stories.

Dates: ca. 1925-1987; n.d.
Size: 7.14 cubic ft.

This series consists of both unpublished and published stories by Eudora Welty.

Subseries A: Uncollected Unpublished Stories is divided into three parts: Part 1: Short Fiction; Part 2: Longer Fiction; and Part 3: Miscellaneous Stories and Notes. These materials were donated by Welty’s estate. 

In Part 1: Short Fiction, the short works of fiction are listed in alphabetical order. 

In Part 2: Longer Fiction, the lengthier, more complex works of fiction follow. These include “Henry,” a story that has at least two versions; “Nicotiana” (or “The Last of the Figs”); and the stories and folders related to the “The Shadow Club” and “The Wells.” For these longer works, folders of material that have been grouped together by Welty appear first; then individual folders created by her; then miscellaneous material associated with the stories or folders created by the archivists during processing. 

In Part 3: Miscellaneous Stories and Notes, material that is miscellaneous in nature include folders either created by Welty, or composed by the archivists, that contain more than one story, or notes or fragments of stories.

Subseries B: Uncollected Published Stories consists of the uncollected but published stories, and has long been open for research in the Mississippi Department of Archives and History. These materials were originally described by Suzanne Marrs in The Welty Collection: A Guide to the Eudora Welty Manuscripts and Documents at the Mississippi Department of Archives and History (Jackson and London: University Press of Mississippi), 1988. The published stories in this series have been arranged in alphabetical order by title. The descriptions created for them by Marrs have been retained, with minor changes made for the convenience of the reader. 

Processing Note: Every piece of material in this series has been numbered by the archivist. Whether the pieces consist of handwritten notes, loose strips of typescript or handwritten notations, or partial or full pages, they are referred to by "page numbers" for the researcher's convenience. These numbers appear in brackets on the verso of the items. They indicate only the sequence in which the material was found at the time of processing. Although it cannot be assumed that the order of the pieces within the folder necessarily reflects the order Welty intended for them to have within each story, the archivists have retained the order in which the materials were found in order to preserve the context of Welty’s creative work. If pages were clipped together by Welty, they have been foldered or arranged together to retain their original grouping. The work by Suzanne Marrs, Eudora Welty: A Biography (Orlando: Harcourt, 2005) has been of great value in establishing the arrangement of these stories.

Subseries A: Uncollected Unpublished Stories.

Part I. Short Fiction

[“The Alterations.”]. [1987.] 52 pieces.
The material for this story consists of handwritten notes in ink and occasionally pencil with many cross-throughs and corrections. These do not form a complete or continuous draft, but rather fragments or sections of dialogues between characters, paragraphs of description, and a few notes-to-self by Welty concerning the story: [p. 6] bears the note that the title should be “Alterations or Peau de Soie.” Passages vary between third and first-person narration. While there is some continuity between the sections of dialogue, the numerous cross-throughs and the multiple directions on the pages in which Welty has written these notes makes them difficult for the reader to follow. The notes appear in two groups. The first notes are contained in thirteen pages in a Mead writing tablet [#1]. The rest of that tablet is blank, and some of the blank pages have been torn. The second group of notes takes the form of thirty loose pages of notes accompanying another Mead tablet [#2]. The loose notes have been written on various types of note paper. These include stationery from The Algonquin Hotel; a newspaper clipping [p. 6]; and the outside of an envelope [p. 9] that contained an April 2, 1987, letter from Hazel Goodman Koch and a newsclipping [enclosures I, II, and III]. The second Mead tablet has handwritten notes only on six pages; the rest of the tablet is blank. In both Mead tablets, only pages with writing have been numbered by the archivist.

"Beautiful Ohio." ca. 1936. 9 pieces.
Typescript; pages [1]-9; handwritten revisions in pencil; Welty has dated the typescript as "1936(?)"

[“The Cheated.”] ca. 1938. 34 pieces.
This untitled typescript draft has a few handwritten corrections in ink. All but the first page are numbered by Welty. The typescript manuscript appears complete.

"The Children." ca. 1934. 5 pieces.
Typescripts; pages [1]-5; numerous revisions handwritten revisions in pencil. Welty has dated the typescript as "1934?"

"The Death of Miss Belle.” n.d. 13 pieces.
There are thirteen pages numbered by Welty in this carbon typescript. There are no corrections, and the draft bears Welty’s name and address on the top right of the first page. The manuscript appears complete.

"A Ghost Story." ca. 1930. 3 pieces.
Typescript; pages [1]-3; almost clean copy. Welty has dated this story as "1930?"

“For Ghost Story.” n.d. 16 pieces.
The original folder has erasures and the above notation. Its contents include typescript pinned and loose strips with corrections in pencil and ink, and handwritten notes in ink. There is no clear order or continuity to the fragments of narrative. The story does not appear to bear any relation to “A Ghost Story” above.

“The Last Night notes.” n.d. 16 pieces.
In the original folder established by Welty are loose strips of typescript with pen and pencil corrections; pages of typescript with ink and pencil corrections; a handwritten note; and pages of typescript with pinned amendments. These form a fragmentary draft of “The Last Night,” a story of a couple’s last night together before their home is destroyed. The first six pieces [pp. 1-6] are strips that Welty may have pulled from “The Shadow Club” to place as descriptive material in this story: there are references to “the Observatory” and to characters from that story on the strips.

“The Trip.” n.d. 17 pieces.
Sixteen typescript pages form an apparently complete draft of the story entitled “The Trip.” All pages but the first are numbered in typescript by Welty. The draft appears to be close to a final one, as there are only a few handwritten corrections in pencil and ink. Included with the typescript is a blank Halloween card.

Untitled story about Courtney. ca. 1925; 1981; n.d. 118 pieces.
The materials for this story about a little girl named Courtney include an original typescript donated to the Mississippi Department of Archives and History in 1981 by Ralph Hilton. With the typescript are the original box cover and a note concerning its provenance. The typescript manuscript has thirty-one total pages, and includes handwritten annotations and corrections. Welty has numbered pages 1-21 in typescript, and added a paragraph on the verso of page 7. These twenty-one pages are followed by single-spaced and hand-numbered pages 1-10; the first two pages of this section are on legal-size paper. The final four pieces of the typescript are un-numbered, and single-spaced. There manuscript has chapter headings, suggesting that this was a projected novel.
There are also two photocopies. One appears to have been returned to Welty by Ralph Hilton. It is accompanied by a letter from Hilton to Welty written on March 31, 1981 [folder 5], concerning the donation of this manuscript; two newsclippings; and an envelope from Hilton bearing a note by Welty [folder 6]. Included among the pages of this photocopy is a list written by Welty of interviews of her done in the 1970s [folder 7]. This photocopy is a complete copy of the typescript described above, although the handwritten corrections may be difficult to read or are sometimes cut off. There are four pieces [pp. 23-26] copied on 11x17 paper. The second photocopy is accompanied by an envelope from the Mississippi Department of Archives and History addressed to Eudora Welty, suggesting that this copy was made by the department for Welty’s use. It too is a copy of the typescript above. Like the first photocopy, this one cuts off some of Welty’s handwritten revisions. This second copy also lacks the paragraph on the verso of p. 7 of the original. Both photocopies lack Welty’s address [on the verso of p. 30 of the original typescript].

Untitled story about St. Francis and the wolf. n.d. 6 pieces.
The material for this story is fragmentary, consisting of two pages of handwritten notes in ink, and four pages of typescript with numerous corrections and additions in ink. These pages are not a continuous draft, but form variant versions of some sections of the story.

Part 2: Longer Fiction

"Henry." n.d. 0.85 cubic ft.
Arrangement note: The majority of material for this story is fragmentary in nature: loose strips, pages with pinned strips amending them, and handwritten notes are numerous. Welty apparently worked on at least two versions of this story dealing with the destruction of memory through Alzheimer’s disease. In the first version, the central character “Henry” is a linguistics professor; the female characters are his wife, usually called “Donna,” his student “Rachel” or “Justine,” and his helper “Tina.” In the second version, “Henry” (also called “Charles”) appears to have been an architect, and the major female characters are Henry’s wife “Connie,” and “Stella.” The folders and pages have therefore been arranged by version. These are referred to as the “first” and “second” version simply in order to avoid confusion; there is no clear indication of the sequence of composition of each version. Within each version, the folders established by Welty are described first. There follow individual items relating to each version. After the pieces relating principally to specific versions, notes and pages that seem generally related to the theme of the story have been listed under “Miscellaneous Material.”

"Henry.” First version: Folders established by Welty

"Part I Affinities." n.d. 80 pieces.
This folder primarily contains fragments of narrative and pieces of dialogue: there is no clear order in their placement. There are handwritten notes in pencil and ink; loose and pinned strips of typescript with corrections in ink, some completely handwritten strips and pages; and pages of typescript with corrections in ink or pencil. In several cases passages have been written on envelopes, or on incoming correspondence, and in one case, on the receipt ticket from the Jitney Jungle grocery store [p. 13]. While the written or typed material is not dated, the dates of the envelopes and receipts on which some are written suggest that the composition of these passages at least did not occur before 1981 or 1982. Some pages [pp. 72, 73, 75, 78] contain directions or notes concerning the structure of the story and the inclusion of a flashback (probably the material described immediately below). One handwritten note [p. 21] indicates that Welty was considering the alternate title of “A Sealed Book” for this story.

"Part 2 Flashback – Insert Affinities" "Henry." n.d. 37 pieces.
While “Henry” is written in black ink on the folder, the notation preceding it (“Part 2…”) appears in blue, as does the phrase following “Henry”: “All changed to first person narrative, cut, staged [?] as flashback.” This folder contains material apparently intended to be inserted into “Part I Affinities” above, as a “flashback” to the heroine’s first meeting and summer with Henry. The first pages of this folder were numbered by Welty, and order and continuity are apparent within this group. The pages themselves are sometimes constructed of strips attached with pins or adhesive, but consist primarily of typescript with ink or penciled corrections. Welty’s numbering stops at “23 – H” [p. 25]. The remainder of the folder is filled with more fragmentary material: in addition to pages constructed of typescript strips, there are handwritten ones with handwritten notes attached by pins, or loose strips of typescript and ink. One of the later pages [p. 28] is entitled by Welty “Notes for the Last Night.” That Welty considered establishing a connection between “Henry” and her other work is suggested by one name considered for the heroine, “Justine,” and her reference to another character and setting of “The Shadow Club” [p. 5].

"Spring ‘84" "Pulled out to be of use in Henry story." n.d. 30 pieces.
This folder contains typescript pages and loose and pinned strips with ink and rare pencil corrections. The contents are fragments of narrative and dialogue that center on the heroine’s visit to Henry after his illness. Most of the pieces seem associated with the version of “Henry” in the first two original folders. Two pieces [pp, 3, 4] appear unrelated to this version, and may belong to the second version.

"Henry." First version: Individual items.

Notepad pages. n.d. 6 pieces.
This item consists of three pages of handwritten notes in ink, originally written by Welty in a yellow Mead notepad. The first page [1] bears a note concerning a caterpillar. On the fronts of the next two pages are notes apparently for the first version of “Henry,” containing references to the “Flashback” sequence and to “Byzantium.” On the verso of both pages are comments by Welty on the dramatic work of journalist Jim Lehrer.

Note. n.d. 1 piece.
On a torn page of note paper is a handwritten passage in ink that appears to belong to the first version of “Henry,” since it concerns a linguistics student’s feelings for her teacher.

“Henry.” Second version: Folders established by Welty.

“perhaps for later? Remnants of [?] hospital scene etc.” n.d. 17 pieces.
Crossed out on the original folder are the notations “The City of Light” and “place.” The folder contains fragments of narrative and dialogue. There is no clear order within this folder, though an occasional page or strip may have a page number or scene title by Welty. There is a reference [p. 5] to “The City of Light,” which may have been an alternate title for this story. The pieces of this version of “Henry” are composed both of pages and strips of typescript with ink corrections, and of strips and notes that are handwritten in ink. One group of notes [p. 6] appears on both sides of an envelope. The words “Piero,” “the local city” and “quintessence of perspectives [?]” appear on this envelope, perhaps in reference to Piero della Francesca’s Ideal City, a work mentioned by Suzanne Marrs as featuring in a story by Welty concerning an architect (Eudora Welty, p. 478).

“Remnants of Beach – Earlier - + at night.” n.d. 16 pieces.
The folder is also marked “Beach” and “(brick incident to do over – children).” The folder contains fragments of narrative that apparently relate to the version in the folder above. These fragments center on a scene on the beach at night and the appearance of a giant sea turtle. Most of the material in this folder is composed of loose strips or pages of typescript with ink corrections; one has a pinned attachment. There is one page of handwritten notes in ink [p. 7]. Most of the pages are not complete, but consist of only one or two paragraphs, and are heavily annotated in ink.

“Henry.” Second version: Individual items

Notes in Mead tablet. n.d. 13 pieces.
Only thirteen pieces of this Mead tablet contain writing. There are ten pieces with handwritten notes in ink for the second version of “Henry.” These include a brief outline of events in the story [p. 2], and sections of description and dialogue. In these notes the central character is still called “Charles.” Following these pieces are two pages of notes that Welty wrote objecting to editing changes made in an unspecified manuscript. These express her views on the importance of word arrangement and punctuation to a writer [pp. 11-12]. The final page written on in the tablet contains a list, apparently of preparations for a trip [p. 13].

Notes from a Mead tablet. n.d. 6 pieces.
Detached from a Mead tablet are five pages of handwritten notes in ink for the second version. These notes contain passages of description and dialogue. Some pages have brief titles or topic notes by Welty.

Clipped notes. n.d. 2 pieces.
A section of this typed page with handwritten additions in ink was clipped out to form a separate piece, presumably for placement elsewhere. The sections appear to relate to the second version of “Henry”; a heading in all caps appears in the middle of the page: “HENRY’S PACKING BOX, “THE CITY OF LIGHT.”

Loose pieces. n.d. 4 pieces.
Three handwritten pieces in ink and one piece of typescript with ink corrections and annotations contain drafts of dialogue and narrative relating to the second version of “Henry.” There is no order or sequence to these pieces.

“Henry”: Miscellaneous material possibly related to “Henry”

Notes from untitled folder. n.d. 4 pieces.
An untitled blank folder contained four pieces of handwritten notes and corrections in ink. The notes concern the story of a woman doctor in a nursing home named “Stella Fox.” Whether this material is directly related to a version of “Henry” is unclear, but “Stella Fox” in this story appears to suffer from Alzheimer’s disease, as did “Henry.”

Notes for a nursing home story. n.d. 4 pieces.
On three First National Bank, Jackson, deposit slips, and on both the front and verso of an envelope are handwritten notes in ink containing dialogue, first-person narrative, and descriptions of three people in a nursing home, and loss of memory. There is no clear continuity between the material on the deposit slips and that on the envelope: they may represent ideas for different stories. On two of the deposit slips are the words “In the Middle,” suggesting Welty was considering this phrase as a title for that story.

“Nicotiana” or “The Last of the Figs.” [1963] – 1964: n.d. 0.85 cubic ft.
Here follow groups of folders and individual folders of material created by Welty for a work alternately entitled “The Last of the Figs,” or “Nicotiana.” Further material concerning “Nicotiana” may be found in the sections on “The Shadow Club” [Original folder 10], and “The Wells” [Original folder 7] and [Original item 10]. These last contain items that suggest a connection between “Nicotiana,” “The Wells,” or “Grand Times,” and “The Demonstrators.”

“Nicotiana”: Folders grouped together by Welty
Six folders of story material were grouped together by Welty. The original six folders have been subdivided in processing to ensure better preservation.

[Original folder 1.] “Nicotiana revised ’64 Part I to Copy.” [1963]-1964. 52 pieces.
The title is written in black ink on the original folder; in blue ink is written “The Last of the Figs,” “A 60’s story can be extracted [?] from this.” The first three items in this folder are loose strips of typescript with pencil and ink corrections. These appear to relate to other stories, including “The Wells.” The main typescript begins on [p. 4], and is entitled in pencil “Nicotiana [1963] I.” The work consists of typescript and carbon pages with numerous handwritten notes and corrections. Many of the pages include pinned strips bearing additions or substitutions. Some pages were numbered by Welty.

[Original folder 2.] “Part 2, Party Orig.” n.d. 53 pieces.
A handwritten note in ink [p. 1] described the folder contents as: “NICOTIANA Part 2 The Party More or less in page order.” The first two pieces in this folder are brief handwritten notes. The typescript begins on [p. 3], and is entitled “II Party 1.” Few of the pages are numbered by Welty. Pages consist of typescript with notes, additions, or corrections handwritten in ink or pencil. In many cases the pages consist primarily of strips of typescript with ink and/or pencil changes or additions, pinned to sheets of paper. A few pages have been numbered by Welty.

[Original folder 3.] “The Last of the Figs Part 3 New Typed. Original Sept.” n.d. 27 pieces.
This folder contains typescript pages and carbons with pencil and ink corrections, unnumbered by Welty. Some pages consist entirely of strips of typescript and handwritten corrections and additions attached with pins. Some entire pages were originally pinned together by Welty.

[Original folder 4.] “The Last of the Figs notes.” n.d. 18 pieces.
The notes and drafts are in pencil or typescript, and are unnumbered by Welty: some pages are carbons; a number of them concern the party scene. Some pages are completely crossed through; some bear corrections, changes, or additions in pencil. Loose strips of typescript are included.

[Original folder 5.] “For Nicotiana.” n.d. 10 pieces.
Fragments of dialogue and description written on pages, partial pages, and strips of typescript or carbon with corrections and additions in pencil or ink comprise this folder. They were not numbered by Welty. One passage is written on the front of a January 10, 1958, announcement of a meeting of the Junior League Sustaining Members Garden Club.

[Original folder 6.] “The Last of the Figs part 1, (carbons).” n.d. 17 pieces.
On the folder after “part 1” the words “typed. original” have been crossed out. The folder contains carbons of unnumbered typescript pages of part 1, with penciled corrections.

“Nicotiana”: Individual folders established by Welty

“The Last of the Figs” “Part 2” “Party” n.d. 16 pieces.
The original folder by Welty bears several notations that have been crossed out, and a penciled list of characters. “The Last of the Figs” appears in ink; “Part 2” in red pencil; “Party” in blue pencil; and the notation “Mostly N. A.”[?] is written in pen within a box drawn in ink. The folder contains unnumbered pages and one small strip [p. 4] of typescript. There are many corrections and additions in pencil and ink: one page [p. 13] consists primarily of corrected strips pinned together. Numerous passages have been crossed out.

“1-a orig.” n.d. 37 pieces.
In addition to the title, this folder bears a notation in ink by Welty “use, put in sequence.” It contains pages of typescript and carbons, as well as numerous strips of typescript. Some of the strips are loose; some are attached to pages or to each other with pins, often in overlapping layers. Many handwritten corrections or additions appear on both pages and strips in pencil, with an occasional one in ink. Only one page bears a page number established by Welty. Some of the pages and strips were originally clipped together.

“1-a” “c.” n.d. 18 pieces.
As Welty’s notation of “c.” on the folder suggests, this folder primarily contains carbons, except for two pages [pp. 3, 4] which are typescript. Most of the pages are full pages; two [pp. 1, 2] are partial. All lack pagination by Welty. Some bear handwritten corrections in pencil, one [p. 4] has changes in ink.

“The Shadow Club,” “The Wells,” and associated works.
The Shadow Club,” the dramatic and narrative versions of “The Wells,” and a number of shorter stories that include some of the same characters have been placed together in this section for the convenience of the researcher. For both “The Shadow Club,” and “The Wells,” Welty herself grouped folders of material together. It should be noted that the material assembled by Welty in these folders sometimes does not follow any clear narrative sequence, and is often fragmentary in nature. Moreover, the folders grouped under one story may contain material that relates to the other story: folders concerning “The Shadow Club” will contain pages referring to incidents or characters also appearing in a version of “The Wells.” The researcher seeking information on one story may therefore find relevant material in a number of the folders described below.

It is also the case that Welty wrote notes for her stories on materials used for other subjects: some directions and passages concerning “The Shadow Club,” may be found in the same notepad with notes for a review by Welty of Nona Balakian’s work: see Series 18, Box 74, folder 2.

“The Shadow Club.” . ca. 1978-1980; n.d. 2.04 cubic ft.
 

“The Shadow Club”: Folders grouped by Welty
Fourteen folders and some loose material were originally grouped by Welty and tied together with a string. They primarily contain material for “The Shadow Club.”

[Original folder 1] “The Shadow Club” “1. Observatory Street.” 1980[?]. 112 pieces.
The following notations also appeared on the original green vinyl folder: “Read over Aug. ’80” and “With yellow cover: To type up for Draft.” Some of the titles / notations appear in blue ink, some in black, suggesting they were made at different times. It is unclear from the notations whether the material in the folder was composed, revised, or simply reviewed in 1980. Pages are primarily of typescript. There are corrections or additions or entire passages handwritten in ink or pencil, with numerous changes made on strips pinned to the page, or left loose. Few of the pages are numbered by Welty, and her enumeration does not correspond to the actual sequence of the pages. A number of pieces were originally clipped together by Welty, some with notes attached indicating their respective subjects. In some cases, Welty’s handwritten annotations indicate the intended placement of the pages within the draft, or their cuts from it. One handwritten note by Welty on a strip of paper [p. 70] briefly discusses the role of “the marauder,” and the relationship of “The Wells” and “The Shadow Club.”

[Original folder 2.] “The Shadow Club” “Sections of III to Xerox” n.d. 148 pieces.
The folder also bears the notations: “Last parts ([sic] not final” and “Put in chrono order + edit sharply.” At the front of this folder was placed another folder containing seventeen pages. This interior folder bears the notations in blue ink: “Working Draft. Only Copy” “Scenes – From beginning to death of Hallie + Merrit”; and in black ink “To be cut + organized,” “Delete much”. The contents of the “Working Draft” [pp. 1-17] folder currently occupy four folders (as listed below). The pages in both folders are primarily typescript, with additions and corrections in ink or pencil. Welty uses photocopied versions of a few pages. There are numerous loose, glued, or pinned strips of annotated typescript, and handwritten notes on strips or entire pages: one [p. 4] appears on a bank deposit slip. Occasionally, it is clear that there are strips created from the same piece of paper and then separated: [123] and [126] appear to have come from the same piece originally. In several cases, pages were clipped together with notes that include directions for the sequence of scenes in the story, or that specify the subject of those pages.

[Original folder 3.] Untitled. n. d. 13 pieces.
This folder was not given a title by Welty; the only markings on it were crossed through. The folder contains partial pages as well as pinned and loose strips in typescript with handwritten notes and corrections in ink.

[Original folder 4.] “Keep.” n.d. 8 pieces.
The folder marked “Keep” contains partial and full pages of typescript, two with pinned strips of typescript attached. The pages bear handwritten annotations and corrections in pencil and ink.

[Original folder 5.] “Minings from old Wells story of possible use.” n.d. 32 pieces.
This folder includes story material from “The Wells,” and a postcard sent by Frank Lyell to Eudora Welty [1973] of Allison’s Wells [p. 1]. The story drafts appear on handwritten ink as well as typescript pages. There are a number of strips of corrected and annotated typescript, and notes by Welty concerning the story development [p. 2]. Also included is a passage from (“Nicotiana”) “The Last of the Figs” [p. 3]. Some of “The Wells” material appears in dramatic form, with set directions and character dialogue.

[Original folder 6.] “Check on for including.” n.d. 34 pieces.
Both complete pages and fragments of narrative are contained in this folder. There are handwritten pages, and pages of typescript with handwritten annotations in ink or pencil. Some pages have pinned attachments; some strips of typescript are loose. There are also handwritten notes by Welty for the story’s composition: these include notes on the viewpoint of some characters [p. 16]; a passage concerning the nature of the “Shadow Club” [p. 20]; and a list establishing birth dates for some of the characters [p. 24].

[Original folder 7.] “Miscellaneous notes Type up and save?” n.d. 18 pieces.
The material in the folder is miscellaneous in nature. There are passages clearly relating to “The Shadow Club” or perhaps “The Wells,” but others appear to be part of “Nicotiana” or “The Last of the Figs” [pp. 14-16], or other stories altogether. There is a list of captions for snapshots in Welty’s handwriting [p. 2], and narrative taken “from a real trial” [p. 5]. There are handwritten pages and notes, as well as typescript pages with ink and pencil annotations, and loose strips of typescript.

[Original folder 8.] “(Observatory Street) out” n.d. 102 pieces.
This folder includes one page of typed notes “from a real trial” [p. 1]. There are both typescript pages and loose strips with ink and pencil corrections and additions. Some pages bear notations indicating their place or subjects in the narrative. Some material may be from “The Wells.” There are handwritten notes by Welty concerning the composition of the story: a list of characters and fragments of dialogue appear on the verso of a biographical article on Aleksandr Solzhenitsyn in an American Federation of Labor and Congress of Industrial Organizations publication [p. 51].

[Original folder 9.] “mostly out” “Story.” n.d. 33 pieces.
This folder contains handwritten pages and notes; typescript pages with annotations in ink and pencil, some with pinned attachments; and loose strips of typescript. Some of the notes by Welty concern the development of the story and its characters, as well as drafts of narrative.

[Original folder 10.] “Save” “not in novel.” n.d. 51 pieces.
This folder contains material that is not obviously connected to “The Shadow Club.” It includes material apparently relating to “The Wells” and “Nicotiana.” The original material by Welty in the folder is composed of both handwritten pages and notes, as well as typescript pages and strips with annotations in ink and pencil. This folder contains a number of items that appear miscellaneous, but may also have been gathered as research material: these include items of correspondence, notes made by Welty on various subjects, such as the mottos found on road and business signs [p. 28]; quotations; typed excerpts from nineteenth-century narratives; newsclippings; a commencement program with Welty’s notation “keep for names;” a photocopied text of an insurance claim; and a political flier.

[Original folder 11.] “Somewhat Out of Date.” 1978[?] 41 pieces.
The folder also bears a number of notes by Welty, one dating its contents to “Oct. ’78.” Another described the contents as “Xerox of pages of draft Parts II, III (not all).” The folder contains a photocopy of annotated draft pages of “The Shadow Club;” the draft is not complete nor in a clear sequence. There are handwritten ink annotations and corrections on the photocopied pages; two loose strips of typescript bearing ink and pencil corrections are included.

[Original folder 12.] “The Shadow Club” “Blocking of Scenes.” n.d. 6 pieces.
This folder contains handwritten notes by Welty detailing the points of view to be used in each scene; drafting fragments of dialogue; and outlining the scenes in the work [p. 4].

[Original folder 13.] “Mildred” “McCready’s [sic] Wells” “Hallie + Merrit.” n.d. 37 pieces.
This folder contains typescript and photocopied pages of draft material for “The Shadow Club.” The pages frequently bear annotations and corrections in ink or pencil; some have pinned attachments. There are also some handwritten notes and loose typescript strips.

[Original folder 14.] “The Shadow Club Draft” “1. Observatory Street.” n.d. 22 pieces.
The original folder bears the notation “type up for adding.” It contains typescript pages and strips with ink and pencil additions and corrections. The pages are fragments of draft, and are not in narrative sequence, although some are clipped to handwritten notes identifying the subject of the pages that are clipped together.

[Folder 15.] Loose pieces. n.d. 7 pieces.
This folder was not an original folder created by Welty, but one instead created by the archivists to house the loose pieces of typescript found tied together with the other fourteen folders on “The Shadow Club.” The contents of the folder consist primarily of loose strips of typescript and one page [p. 6] formed of pinned strips of typescript. The typescript strips bear changes and additions in ink and pencil. A handwritten note identifies five pieces [pp. 3-7] as bits of narrative concerning the character “Vashti” (or “Mal”).

“The Shadow Club”: Miscellaneous material

List of character names. n.d. 1 piece.
A list of names of characters in “The Shadow Club,” handwritten by Welty in ink on back of an envelope postmarked June 1, 1981.

Notes. n.d. 5 pieces.
This folder contains typescript pages with handwritten corrections in ink. The first page appears to be a typed copy of excerpts from a newspaper article dated Oct. 1981. The other pages [pp. 2-5] contain passages of narrative regarding the characters in “The Shadow Club,” including the Hendersons, Amanda, and Professor Sly; all of them dealing with problems of memory.

“The Wells” 1970; n.d. 2.04 cubic ft.

“The Wells”: Folders grouped by Welty.
Twelve folders of material assembled by Welty were originally grouped together and tied with a string. They contain material primarily from “The Wells,” although some pieces concern “The Shadow Club.”

[Original folder 1.] “II Preparing for Hallie.” n.d. 10 pieces.
This folder created by Welty contains a handwritten note, typescript pages, loose strips, and strips pinned to pages. All bear handwritten corrections or additions in ink or pencil. The material is not necessarily in sequence, and is in dramatic form: it consists of fragments of dialogue between characters.

[Original folder 2.] “After Hallie returns, II.” n.d. 12 pieces.
This folder contains typescript strips bearing corrections and annotations in ink and pencil, and a handwritten note. Sometimes the strips are pinned to others to form pages, sometimes they are loose. They bear fragments of dialogue between characters, presented in dramatic form.

[Original folder 3.] “n. g.[?] Hallie performs.” n.d. 13 pieces.
This folder is composed of pages and loose strips of typescript with corrections and additions in pencil and ink. The pages contain exchanges of dialogue between characters.

[Original folder 4.] “Characters.” n.d. 20 pieces.
The material in this folder consists of pages and pinned or loose strips concerning several characters in “The Wells,” including Idolette and Prior Darden; Belle; Calhoun; Ruthie or Rose; and Herman Fairbrothers. Some pages and strips are typescript, bearing ink or pencil additions or corrections; some are handwritten. While there are exchanges of dialogue between the characters, as in dramatic form, there are also pages composed as narrative.

[Original folder 5.] “Usable” “Love Scenes.” n.d. 10 pieces.
The material in this folder is in dramatic form, with stage directions and exchanges of dialogue between characters. It consists primarily of typescript strips, loose or pinned, and one page of typescript. There are ink and pencil corrections and additions throughout.

[Original folder 6.] “For Calhoun.” n.d. 6 pieces.
This folder contains material concerning Calhoun Yates. After a few lines describing the character, the pages continue in dramatic form, including set directions and exchanges of dialogue between characters. The three first pages are numbered by Welty. All are typescript and include corrections in ink.

[Original folder 7.] “Type up” “Briscoe.” n.d. 77 pieces.
There are other penciled notations on the original folder: “Place” “Type up” and an encircled “P.” The folder contains both handwritten and typescript pages and strips: most of the latter are loose, but some are pinned. There are handwritten notes. The contents of the folder consist of fragments of scenes and dialogue, notes on and lists of characters; and descriptive passages. One page outlines [p. 21] and another describes [p. 19] the fate of the resort of “The Wells.” On another page [p. 18], there are handwritten notes by Welty that suggest that “Grand Times” may have been an alternate name for a version of “The Wells,” and that it would form part of a series of three stories with “Nicotiana” and “The Demonstrators.”

[Original folder 8.] “Usable dialogue winding up” “Death of Belle” “Callers before Funeral.” n.d. 27 pieces.
These fragments of dialogue, primarily concerning Belle and her funeral, are composed on handwritten and typescript pages and strips. Some of the strips are loose, some are pinned together, or pinned onto pages. There are corrections and additions in pencil or ink.

[Original folder 9.] “Misc. to place.” n.d. 42 pieces.
This folder contains a number of handwritten as well as typescript pages and strips. The typescript ones are often corrected or annotated in pen or pencil. As well as fragments of dialogue and narrative, there are lists of and notes on the characters and their action in the play, and outlines of the scenes of “The Wells.”

[Original item 10.] “Belle – The Wells – Hallie – Spells – Ned for various stories about (these are more pieces)” n.d. 175 pieces.
A brown envelope bearing the above title contained or was accompanied by handwritten notes by Welty, as well as typescript pages and pinned and loose strips of typescript bearing annotations or corrections in pen or pencil. These items concern some of the characters in “The Wells,” and finally [p. 173], the burning of “The Wells.” Some of the material is presented in dramatic dialogue form; some appears in narrative style: occasional notes by Welty indicating that narrative passages should be transformed into dialogue are also included. While there is no continuous order extending throughout this material, and some passages are fragmentary, there are also dramatic or narrative sequences that last for several pages, and a few pages are numbered by Welty. The relationship of this material to other stories by Welty is also indicated by several items. There are notes by Welty directly addressing the appearance of some characters from “The Wells” in other stories, including “The Last of the Figs” [p. 63]. There are incidents and descriptions of characters that appear to have been further developed in, or are variants of, those appearing in “The Shadow Club.” Among this material are not only lists and descriptions of characters, but a timeline by Welty [p. 163] indicating the dates and sequence of “Grand Times,” “Nicotiana [The Last of the Figs],” and “The Demonstrators,” and noting which characters survived, or were related to other characters, in the later stories in the sequence. There are also passages that appear complete [p. 109], or in an altered form [p. 20], in her story “A Sketching Trip,” that was set at Fergusson’s Wells.

[Original item 11.] “The Harp (Part of Wells material).” n.d. 85 pieces.
This folder was originally contained in an envelope labeled by Welty as “Belle – The Wells – Hallie – Spells – Ned” “old + in bits to go over.” The folder includes fragments of narrative relating to characters in “The Wells.” While some of the pieces are grouped together, there is no continuous order extending throughout the folder. Some passages of narrative extend for a few pages of typescript; some appear as separate strips of typescript. Instances of dialogue in dramatic form are rare. Both pages and strips bear frequent corrections or additions in pen or pencil. A number of strips are pinned together; there are frequently multiple strips pinned to pages. Separate pieces bearing handwritten notes by Welty are included: sometimes these introduce the material grouped with them; sometimes they form paragraphs of narrative; and occasionally they appear intended as stage directions.

[Original item 12.] “notes” “Shadow Club.” n.d. 1 notebook.
A red Mead tablet bears the above notation on its cover. While most of the tablet is blank, there are twenty pieces bearing handwritten notes in ink by Welty, these have been numbered on the verso by the archivist. The first five pages of the notebook are miscellaneous in their content, including a list of actors and singers of the early twentieth century with some comments by Welty on their performances and films; a note on names for business partners (perhaps for a story); numerical calculations; and a mention of a telegram from Mary Lavin. There follow pages primarily concerning “The Shadow Club,” containing notes on scene structure and settings; descriptive passages; and drafts of dialogue. While these pieces are undated, Welty makes a brief mention of Vietnam [p. 9]. These notes and drafts demonstrate that Welty considered setting scenes of “The Shadow Club” in locales from “The Wells,” placing both the discovery of the heroine after the attack, and the murder-suicide of her parents in the old Wells hotel. References to Welty’s “A Sketching Trip” also appear: there is a list of numbers [p. 15] “from A Sketching Trip,” and a note [p. 20] mentioning “the beautiful childhood scene of the Wells (from Sketching Trip).”

“The Wells”: Individual folders established by Welty

“Cafe” [sic] “bits usable.” n.d. 18 pieces.
Welty marked this folder “Cafe” in pencil, and in red ink, encircled, “bits usable.” The folder contains pages and strips of typescript with corrections and additions in pencil and pen. All the material is written in dramatic form, with exchanges of dialogue between characters and stage directions.

“Lighting, Sets, + Sounds” “Repeats – Props.” n.d. 6 pieces.
This folder includes note cards handwritten in ink and typescript strips, one of which bears additions in pencil. The strips [pp. 3-4] contain stage directions. The note cards bear descriptions of sound effects and a list “for repeat business + actions + subjects,” apparently for a theatrical version of “The Wells.” The verso of the final card [p. 5] carries a first-person comment on “Whitaker’s Wells.”

“Miss Kitty.” n.d. 11 pieces.
This folder contains loose strips, strips pinned together, and pages in typescript with corrections in pencil and ink, and a handwritten note in pencil. Most of the material is composed of exchanges of dialogue concerning the character of “Miss Kitty” or “The Purple Lady” of “The Wells.”

“Miss Nannie” “Vashti + Sis Lovat.” n.d. 9 pieces.
This folder consists of a typescript page with corrections in ink containing material largely in narrative form concerning the character of “Miss Nannie” or “Miss Marcia Pope.” The remaining pieces are pinned and loose strips containing dialogue and stage directions, primarily concerning the character of “Vashti.”

“The negroes.” n.d. 6 pieces.
The title of this folder is followed by a list: “Jimmy Gee, Howling, Partheny, Lazarus, Hilliard, Preacher.” Below that is the name, “Jasper,” crossed out. The folder contains loose and pinned strips and pages of typescript with corrections and additions in pencil and ink. These bear dialogue, stage directions and notes concerning some of the black characters appearing in “The Wells,” particularly Jasper and his son.

“New for Play 1970.” 1970. 3 pieces.
This folder contains a handwritten note and a pinned typescript strip with corrections in ink. These specify the opening backdrop, action, and first line of a play, apparently a production of “The Wells.”

“Notes Performance + party.” n.d. 10 pieces.
Undated, this folder has a subtitle crossed out on it: “Hallie’s return (Freedom Rider?)” that suggests it was written in the 1960s. It contains a handwritten note, pages, and pinned and loose strips of typescript with corrections and additions in pencil and ink. The action is presented in the narrative form of a story, not a play. Characters from “The Wells” appear, among them Hallie, Lamar, Vashti, and Sis. In the comments and conversation of the characters, race relations appears as a recurring subject or underlying theme.

“Old Days.” n.d. 5 pieces.
The title, written in pencil, is encircled in green ink. The word “usable” has been added in green ink beside it. The folder contains pinned and loose strips and a partial page of typescript. All bear corrections in pencil or ink. Most of the material is presented as exchanges of dialogue involving characters from “The Wells.”

“The Spells I + II.” n.d. 15 pieces.
Above the title on the folder, there is the notation: “Background of town-party given etc. Mr. Stuart or Spell or Tackett + the Stuarts.” The folder contains handwritten notes in ink and pencil, and loose and pinned strips of typescript with ink and pencil corrections. One handwritten note appears on a page torn from The New Yorker [p. 8]. The strips and notes contain dialogue concerning or involving members of the Spell family of “The Wells.” On the verso of one note, Welty has sketched in pencil the windows of the house that two prominent characters in “The Wells,” Belle and Hallie, inhabit [p. 12].

“Usable dialogue” “Card Game” “Calhoun.” n.d. 11 pieces.
The original folder bears all three of the above notations. It contains a note in pencil, pages with corrections in pencil and ink, and loose and pinned strips with ink corrections. The material is formed almost exclusively of conversation (although rarely in dramatic form) between several characters of “The Wells.” The character of Calhoun is frequently a topic of conversation, and occasionally involved in it.

“Usable dialogue” “The missing husband” “For Ned, III?” n.d. 16 pieces.
The above notations on the original folder are encircled in green ink. The folder contains partial pages and pinned and loose strips of typescript with pen and pencil corrections. The contents are written in dramatic form, as exchanges of dialogues between characters of “The Wells” concerning the disappearance and finding of Ned Darden.

“The Wells”: Miscellaneous material

Untitled folder. n.d. 24 pieces.
This folder contains on its inside cover a list of topics, handwritten in ink by Welty, that resemble some of the events of “The Wells.” The folder contains handwritten notes in ink and pencil; strips of typescript and typescript pages with corrections in ink and pencil. Among the notes is one entitled “Political Speech (Jimmy Swan) (on TV)” [p. 5]. The materials seem to include dialogue for and descriptions of a variety of characters and scenes, among them some from “The Wells” and “The Shadow Club.” There are two pieces [pp. 14, 15] that describe the background of the house at “The Wells.”

Notebook. n.d. 1 item.
A blue college ruled “single subject” notebook has only two pages that have been used. The first page, written and amended in ink by Welty, contains fragments of dialogue, some of it from characters who appear in “The Wells.” The last page in the notebook contains a list of names, and what appears to be a list of titles of Welty photographs.

Part 3: Miscellaneous Stories and Notes

Folders and items grouped together by Welty.

“Misc. to keep.” [1946]; 1953; n.d. 35 pieces.
An envelope labeled by Welty “Misc. to keep” contained pages, and loose or attached strips, of typescript with corrections in pencil and ink. In a few cases, strips once attached to a page are now loose, and have been numbered “a” or “b.” according to their placement on the main page of text. Most of the typescript pages and strips contain description, dialogue, or narrated accounts by characters concerning “Aunt Studney” and her death. These pages are unnumbered, and do not have a clear order or continuity. Intermingled with these are pages numbered by Welty that relate the adventures of “Cindy,” a former slave and religious revival leader. There are penciled additions on at least one page [14a] that suggest Welty intended the material on Cindy to form part of the story about Aunt Studney, or to involve some of the same characters in the two narratives. However, there is also material originally enclosed in the envelope that may not be related to the story of Aunt Studney. Among this material are two pages of typescript draft concerning Rosa [pp. 21, 25]: these pages appear to be part of another story, and are numbered by Welty “102b” and “104.” Several strips of typescript found loose in the envelope [pp. 26-29] lack order or continuity, and appear to concern different stories: one [p. 27] appears to relate to characters in “The Wells.” Also enclosed are a note to Welty from “Tom,” on a note card of Cooper’s Well hotel; and a newsclipping dated Sept. 13, 1953, concerning Reverend Barney L. Jones.

“Notes for a Trailer Story.” n.d. 7 pieces.
A folder created by Welty bears the above title. It contains three pages of handwritten notes in ink, and three pages of pinned typescript strips with corrections and additions in ink and pencil. The first three pages contain general notes and real information and advertisements about trailers or mobile homes: on the last of these pages [p. 3], there appear notes specifically concerning a story. The pages formed of strips contain dialogue and description for scenes of a story, including a murder scene [pp. 5-6].

“Notes for ‘Just One of Those Things’.” n.d. 16 pieces.
On the envelope labeled by Welty “Notes for ‘Just One of Those Things,’” she has added in pencil “+ miscellaneous other brief notes.” There are handwritten pages of notes in pencil that are clearly from “Just One of Those Things.” These pages [pp. 3-8] contain scenes and notes for characters’ actions, probably an earlier version of the story draft in the “Old Stories not finally reworked…” folder below. Two other pages contain notes for a story with different character names but similar circumstances and plot, that appears in “The Wells.” Of these pages, one [p.9] consists of handwritten notes in pencil on an envelope; the other [p. 14] is penned in ink in many directions on a torn page. There are also handwritten notes in ink on pages torn from a notepad [pp. 10-12, 15] that appear part of another story or stories: there is no clear continuity between these pages. Another page of handwritten notes from a different notepad [p. 14] contains a scene from “The Alterations.” Included as well in the envelope are two photographs: one [p. 1] of Richard Dana of Goat Castle, Natchez, and one [p. 2] of the Meek sisters of Columbus, Mississippi.

“Old Stories not finally reworked, might be used – …” ca. 1930s-1950s; n.d. 47 pieces.
This folder created by Welty was accompanied by an envelope marked “2 or 3 old stories written in part might be useful.” Welty describes the contents on the folder. There are three principal groups of material. “Jimmy Gee’s story” is undated, and consists of a title note and four pages formed of pinned strips of typescript, with handwritten notes and corrections in ink and pencil. This story concerns characters from “The Wells.” The second group of material consists of typescript strips and pages [pp. 5-16] with corrections and additions in pencil and pen concerning with the title of “The Right-of-Way Man,” a story identified by Welty on the folder as a “’30s story.” The draft does not appear to be in sequence, and is followed by two loose items: a newsclipping concerning a bank burglary in Lena, Mississippi [p. 17] and a typescript strip [p. 18] apparently belonging to “The Right-of-Way Man.” The final untitled group of material [pp. 19-44] consists of loose and pinned strips and pages of typescript with corrections and additions in pen and pencil, and is identified on the folder cover as Welty’s story “Just One of Those Things” from the “’50s.” The first page [p. 19 in the folder] contains Welty’s notation and direction: “Pages out of chron. order,” “shorter, condense.” This material includes a handwritten note in pencil for a recipe for “bridesmaid salad” [p. 22].

b. Miscellaneous notes. n.d. 3 pieces.
A piece of notepaper and a page torn from a notebook contain handwritten notes in ink that do not appear related to each other. A typescript page with ink corrections includes a fragment of dialogue, and notes on ladies’ names and a sign seen on a vacant lot: possibly material Welty was considering for use in a story.

Subseries B: Uncollected Published Stories.

“Acrobats in a Park.” ca. 1934; 1977; n.d. 25 pieces.

Included are a typescript manuscript of eleven pages, of which pages 2-11 are numbered by Welty, and pages 5-11 are carbons. There are handwritten revisions in pencil. Welty has dated the typescript as "1934(?)."
In addition there is a photocopy of “Acrobats in a Park.” It is accompanied by a letter from Kenneth Graham at the University of Sheffield, England, dated February 1, 1977, asking Welty’s permission to let a French journal publish this story. On the folder originally enclosing the photocopy, Welty has noted that it was “contributed to Delta magazine, Paul Valéry University, Montpellier, France.” The photocopy consists of eleven pages and an additional page, a carbon copy of the first page and first paragraph of the second page of the manuscript.

"The Doll." ca. 1936. 7 pieces.

Typescript all pages except the first were numbered by Welty, [1]-7; almost clean copy. Handwritten note on page 1 reads "This was published in Tanager [sic] 1936(?)."

“Hello and Goodbye. [1947]. 13 pieces.
This draft consists of pages of typescript with handwritten corrections in pencil and ink; a page of notes handwritten in ink; and eight pages composed of pinned strips of typescript with corrections and additions in ink and pencil. At the top of the first page of the manuscript, Welty has written “Atlantic Monthly” “OK” “Make Clean Copy.” All but the first page and the page of handwritten notes have been numbered by Welty.

"Magic." n.d. 1 piece.
Typescript, incomplete; one page; early version of the opening of "Magic."

"Magic." ca. 1936. 10 pieces.
Typescript; all pages except the first were numbered by Welty, [1]-10; clean copy. Welty has written at the top of page 1: "This was published in Manuscript 1936 (?)."

"Retreat." ca. 1936. 7 pieces.
Typescript; all pages except the first were numbered by Welty, [1]-7; clean copy. Welty has written at top of page 1, "This was published in River (1936) (?)"; actually published in River in 1937.

Author's Notes. n.d. 2 pieces.
A handwritten page, listing eight titles (seven stories and one dramatic sketch), places of publication, and dates of composition; and a manila envelope, with handwritten heading ("Earliest tries at Stories '30s") and list of eight titles.

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