West compares the themes in the works of three authors: Ernest Hemingway, Thomas Mann, and Eudora Welty. He structures his article around three major ideas: theme through action, theme through theory, and theme through symbol. His third idea, theme through symbol, is where he goes into depth about Eudora Welty’s story “Powerhouse”. West suggests how this plot is unlike how a “normal” plot would be shaped and that there is no certainty as to what may come next. He touches on how the flow of the story is similar to that of a musical composition. West argues that Welty uses the characters as symbols to clone to function of a musical composition, and from that she gives the characters separate musical themes.
\nLeroy Thomas writes of the theme of alienation in \"Powerhouse\". In the beginning Powerhouse is playing at a white dance where the people are engaged in his music, however it is evident they notice the racial barrier. Thomas describes how Powerhouse is not easy to relate to and is not in touch with his audience at all times. Not only does Powerhouse feel separated from his audience, but he is almost a Christ-like figure with disciples who wish and do not wish to follow him. Thomas also visits the portion where Powerhouse is playing “Pagan Love Song” and describes him as needing attention. He concludes that Powerhouse has proved to be one of Eudora Welty’s most troubled characters, primarily due to the extensive feeling of isolation.
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Redling discusses how Eudora Welty wrote “Powerhouse” as herself representing the white audience. This connection lies in her viewing the Fats Waller concert as a white southerner and the white audience viewing an African American entertainer. Redling notes that critics focus on the racism within the United States during that time and focuses on how isolated Powerhouse felt. In this piece he focuses on the improvisation and methods that Welty used.
\nIn Eudora Welty's Travellers: The Journey Theme in Her Short Stories Anne Masserand talks about how travelers are indeed a huge theme in most of her stories. An example that she brings up is Natchez trace, and how this particular area is the backdrop to many of her stories. Whether it be some path or road, river or a railroad track one will find at least some sort of attachment to Natchez Trace in Eudora Welty's work. Many cars, boats, horseback riders, travelers, musicians, priests, or tramps make their way across Natchez Trace in many of her stories. Whether a temporary or permanent place of residence Mississippi and Natchez are no doubt Welty's favorite setting in most of her works.
\nMarrs suggests that “Powerhouse” was written as a means to reject a stereotype set upon African Americans. She states that Powerhouse portrays a \"savior\" quality. Even with the overflow of passion radiating from his voice, Powerhouse is able to mesmerize only a small number of people in the audience. When Powerhouse changes locations there is a hope for a more involved and culturally aware audience. However, he finds that his music choices are unavailable and discovers the depth of power the white men have. She suggests that Powerhouse has saved his best performance for the African American audience and to them he is not portrayed as savior. The white audience finds Powerhouse fascinating but also has a slight fear of him, all at the same time finding the \"savior\" quality within him.
Marrs critiques the view of Powerhouse as a savior and concludes that he gives his all for the art of performance. In writing this short story Welty rejected the stereotype placed upon African Americans. The audience’s acceptance of Powerhouse’s art would be the stepping stone towards equality in the south.
\nIn Hurston and Welty, Janie and Livvie, Carol manning talks about the differences to the lives and similarities in the writing of both Zora Neale Hurston and Eudora Welty. Both authors were born at least ten years apart and both grew up in the South. Even though both lived in the South Hurston's family life was not the same as Welty's. Hurston's mother died at the age of eight and had a terrible relationship with her father. Welty grew up with very loving and caring parents. Because of the tension that followed with her father, Hurston set out at the age of fourteen to support herself. Welty on the other hand lived most of her years with her family in Jackson, Mississippi. Hurston was more of an extrovert and an open book while Welty was more of an introvert and private person. Hurston died of poverty and obscurity at the age of 60, while Eudora was famously known and mourned at her death at the age of 92.
\nYet even though their lives were extremely different their writing was very similar. Both writers were accused of writing genuine or important pieces of work as writers. They were also criticized for not addressing important issues such as social or racism problems that plagued much of the south at the time. Even though they did not focus on those issues they did draw to culture of those living in the south. They portray the talking, the gossip, twisting of tales, fussing and exaggerating and evasiveness of a small town of the south. This reveals the way life was in South, its flaws and its merits. It is evident that the culture is has influenced many of the prose they have written. The focus of this essay is to show that many of the works they produced could have been written by the same person.
\nIn the Function of Taste in the Fiction of Eudora Welty, Landess explains how Welty uses taste to convey her characters. This function was often used in the \"Petrified man\", \"Why i live at the P.O.\", and The Optimist Daughter. Her character are often said to condescending or even snobbish, but Welty does not use this so that others can criticize the character of their social flaws. Instead she uses degrading conversation, stale forms of dress, and uncouth behavior to show the hypocrisy and maleficence in her characters who otherwise feel they have no flaws. She also uses this method to show the difference in class among her characters. Even though she uses this method to display lewdness in her characters she leaves us feeling sorry for these characters. Although lewd in personality, it displays how simple minded they actually are in a world that is far more refined than they actually believe. This can also be found in Welty's \"Livvie\" and \"The Optimist Daughter.
\nLampkin describes Powerhouse as a man beyond his kind, adding that the story has religious aspects in place. Powerhouse and his band mates are described as Christ and his disciples, remembering to point out those who are real and pretend. She points out a theme of descent when intermission comes and Powerhouse’s band leaves, while often referring to their music style as \"black jazz\". In a religious aspect, Powerhouse is trying to deliver a message through his song, one of pain and suffering yet somewhat hopeful. Lampkin assures the reader that Powerhouse does not represent the traditional view of a Christian, but rather he is a man with a mask. She states that Powerhouse has come to deliver an urgent message to mankind. She writes that Eudora Welty wrote this story to have a universal appeal as written in the spirit of music.
Kuehl conducts an interview with Eudora Welty where personal questions are asked as well as questions regarding her work. In this interview, the reader gets to know Welty better personally and things that have inspired her writing, such as her thoughts on southerners and their openness and how that gave a pattern to her fiction. Kuehl asks Welty what inspired “Powerhouse” and here is where she talks about attending Fats Waller’s concert and how she wanted to write of an alienated artist in the travelling music world.
\nKirkpatrick suggests that Powerhouse himself extends the definition of a human. Powerhouse was not born understanding music but rather learned the craft. Kirkpatrick states that the craft is not everything to Powerhouse but rather a portion of himself he must have control over. He also points out the repeated image of descent within “Powerhouse” evident in the music that captures the audience, bringing them up and then back down. Powerhouse has no set location to play and therefore his music serves as a form of communication to a variety of audiences. He uses his art to relate to the experiences some audience members may be currently going through or already have at a previous time. The chaos, the brilliant working mind, and his passion all work together to give him the power to deliver an outstanding performance, but unfortunately he is never satisfied. It’s not about the money earned but rather all about the audience’s response.The true driving force behind Powerhouse is love: love for his art. The audience gathers to see a band play because they love the music and wish to connect with the lyric.
In Confinement: Escapism symbolism in Eudora Welty's 'Livvie', Elton F. Henley discusses the escape symbolism within the environment in Livvie\". Henley talks about the environment on which the house lays. Solomon has built a house that would resemble a cage in the deep country. Henley describes that he has buried himself and thus creates a living death for his own wife. Henley talks about how Welty pays specific attention to what Elton considers a prison for livvie. In his prison she lives out her days in an encircled existence, tending to her elderly husband. In this house Elton brings up a number of topics to suggest solitude such as the rocking chair, the three legged table, to the rat traps in the house. Elton concludes that the environmental elements of the house elude to confinement and loneliness in Livvie.
\nGriffith discusses how other critics have failed to mention or pay close detail to Eudora Welty’s creative process, repetitive themes, and writing method. He discusses how Fats Waller’s profound effect on Welty the day of his concert is represented in the effect Powerhouse has on his audiences. The author touches on the idea of a mythical theme the story where Powerhouse is compared to a prophet. Griffith goes deeper into analyzing Welty’s method behind each character and points out two significant themes: loneliness and love. He mentions the use of musical terms, such as counterpoint, the relationship between voices that interdependent harmonically yet independent in rhythm, and how it relates to the two prominent themes.
\nGetz discusses improvised jazz music as an art and relates this to the characters as musicians in “Powerhouse”. He dives into the emotional state and physical movements of the characters and how it connects to the music being played. Getz suggests that “Powerhouse” is Eudora Welty’s way of making art known as a form of social interaction. He touches on the inspiration Fats Waller had on Eudora Welty’s formation of the short story and where he is seen throughout the work. The author feels that the most important aspect Welty was trying to introduce was improvisation, whether it through man, music, or imagination. He examines these improvisations in great detail and provides the reader with examples and explanations.
\nCohn explores the scholarly conversation regarding Eudora Welty’s “Powerhouse” as having a flow similar to the tune of “Hold Tight” by Fats Waller. He breaks down some lines from the song and what is believed to be hidden meanings behind them. Cohn also introduces several other songs from different artists and the similarities it has. He suggests that this was the song played at the concert Eudora Welty attended and “Hold Tight” was in fact the inspiration for the story’s flow.
\nBenzel compares the differences between two published works of Eudora Welty’s “Powerhouse”. In 1941 the story was published in two separate journals and Benzel shows that the majority of her changes are in punctuation. He notes that these changes do not appear to distort or change the meaning of the text. In his piece he examines fifty-seven changes, all of which are in the first two paragraphs, and how they enhance the reader’s ability to understand Welty’s message. He goes into depth what the differences are and breaks them down line by line.
\nAccording to Kenneth Bearden, writing regarding “Powerhouse” has failed to recognize Eudora Welty's incorporation of jazz styles. Throughout the story the idea of improvisation is evident when Powerhouse and his band often create new song selections due the current circumstances. The formation of his wife’s death serves as a means to create a new life to his music. In the story Powerhouse appears to be searching for acceptance from the audience when he sings.
\n There has been proven evidence that Eudora Welty’s inspiration came from a Fats Waller concert she attended, a famous jazz pianist during the twenties and thirties. Bearden argues that Waller’s concert impacted the creation “Powerhouse”, and this is evident in Welty’s description of Powerhouse’s style as “dirty”. Only being at locations for one night the band must make its presence known and memorable. Jazz styles are represented throughout the story by the means of song and Welty’s description of how Powerhouse performs these songs.
Appel compares Eudora Welty’s racial roles in “Powerhouse” to that of William Faulkner. He suggests that although at first glance this story may seem one that discusses one race, the story is really about all races and that is how the story serves as a lesson. Appel describes Powerhouse as a hero, but a hero that is suffering as he tries to fight society’s desire for him to conform. In his work he describes Powerhouse’s “blues” as sadness, not that of jazz that many other critics suggest. He does however also discuss how he believes Welty has placed Powerhouse in a religious aspect. Appel suggests that Welty was attempting to portray the isolation that African American musicians felt in the 1930’s and 40’s and how that shaped the performances that were given.
\nAlbert discusses the connection between Fats Waller and Powerhouse in Eudora Welty’s short story “Powerhouse”. He introduces several interviews where Welty has mentioned Waller’s inspiration as a traveling, black jazz musician on the formation of her character. He dives further into Waller’s life and how it parallels that of Powerhouse in almost every aspect. He compares and contrasts the personal lives of the two, their similar vices, attitude, and even appearances. Albert introduces several other scholarly inputs regarding the connection between the characters. He discusses racial attitudes towards the characters and those that the characters put forth.
\nIn the article by Sabrina Abid and Pearl Amelia McHaney, the authors look at Eudora Welty and Edward McKnight Kauffer on the topic of Kauffer's work crossing with Welty's work. In the introductory paragraph, the authors mention an example of Kauffer's designer work intertwining with Welty which was a dust jacket he had made for Welty's one edition of “The Wide Net”. The following paragraph outlines Kauffer's life included his birth place, education history, and how he first started his art.
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After summarizing Kauffer's life and work, the authors mention that when Welty did a reading, she questioned her editor about who designed the jacket cover of her book. The author's say that Welty had received a signed copy of the cover jacket and found it to be satisfactory. Welty had later sent her signed copy to a dear friend of hers, whom the author's note that the title was dedicated to that person. Both authors mention in the end that Welty might have recognized his work earlier if she had chosen to get to know Kauffer, and then compare Kauffer and Welty and how their hobbies contributed to some of their major work.
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