when speaking of eudora welty, my students always ask me why i usually refer to her as ms. welty. until now, my response was that referred to her otherwise would violate southern manners and we were ever never really acquainted. but tonight, i feel compelled to refer to her as eudora. as a longtime student, and now teacher of her work, i've gained a closeness with her through my explorations with my students of the lyricism and irony and scientific descriptions and narrative structure of both perfection and her photographs. for a year i even lived in the shadow of her house on pinehurst street in jackson mississippi while i taught at millsap college, a place where she also taught writing. during that time, i came to think of eudora more as a neighbor. then as a distant literary figure. it was difficult for me to continue to be so formal. now, in her essay anomalous crusade she ponders whether works of literature should take crusading positions. the novelists work neither corrects nor condones, not at all to comfort but to make what's told alive, eudora wrote. that the novel is not