"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"
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Tartt’s disclaimer is a neat act of literary boundary-setting: she invokes Faulkner and Welty like mile markers, then steps sideways off the road. The sentence sounds modest, almost bureaucratic in its “commonly held sense,” but the move is strategic. She’s not rejecting the South so much as refusing the reader’s prepackaged expectations of what “Southern writer” should deliver: dialect as credential, regional trauma as plot engine, kudzu-gothic atmosphere as brand identity.
Name-checking Faulkner and Welty does two things at once. It concedes the canon’s gravitational pull (you can’t talk about Southern literature without bumping into those names), and it highlights how totalizing that tradition can be. “Entire literary environment” is the key phrase: it frames Southernness as an immersive setting that can swallow an author whole. Tartt, who was raised in Mississippi but built a career on novels that roam from New England campuses to European art crimes, is signaling that her relationship to place is elective, not determinative.
The subtext is also about classifying authors in the marketplace. Regional labels are marketing shortcuts that can flatten a writer’s range into a vibe. Tartt’s work often operates through atmosphere and obsession, but she wants the obsession to be aesthetic and psychological rather than ethnographic. She’s protecting her freedom to be “from” the South without being permanently “about” it, and she’s quietly critiquing how American literary culture turns geography into destiny.
Name-checking Faulkner and Welty does two things at once. It concedes the canon’s gravitational pull (you can’t talk about Southern literature without bumping into those names), and it highlights how totalizing that tradition can be. “Entire literary environment” is the key phrase: it frames Southernness as an immersive setting that can swallow an author whole. Tartt, who was raised in Mississippi but built a career on novels that roam from New England campuses to European art crimes, is signaling that her relationship to place is elective, not determinative.
The subtext is also about classifying authors in the marketplace. Regional labels are marketing shortcuts that can flatten a writer’s range into a vibe. Tartt’s work often operates through atmosphere and obsession, but she wants the obsession to be aesthetic and psychological rather than ethnographic. She’s protecting her freedom to be “from” the South without being permanently “about” it, and she’s quietly critiquing how American literary culture turns geography into destiny.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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