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32 pages 1 hour read

Eudora Welty

Why I Live at the P.O.

Fiction | Short Story | Adult | Published in 1941

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Symbols & Motifs

“One-sidedness”

In the opening paragraph, Sister establishes that she had a relationship with Mr. Whitaker first and that they parted ways because Stella-Rondo told Mr. Whitaker Sister was “one-sided,” referring to one of her breasts being larger than the other. While Sister takes issue with the literal truth of the statement, declaring, “I’m the same” (43), her narration illustrates the symbolic meaning of the term “one-sided.” The reader is only presented with the narrator’s side of the story as character after character turns against her, leaving her to be the hero in her own mind and villainized by others. At the beginning of the story, Sister claims that all the characters got along fine until Stella-Rondo came back, and throughout the story, Stella-Rondo receives blame for all the “problems” in the story. Furthermore, some interactions between characters suggest that there is dialogue Sister is not sharing. “One-sided” thus contributes to the theme of Truth and Perception in “Why I Live at the P.O.”

The Post Office

The post office is a motif mentioned throughout the text and supports the theme of Independence Versus Lack of Autonomy. Sister sees the post office as a source of independence and power, though the narrative highlights multiple ways through which Sister and her job are dependent on those around her. Not only are most of the post office customers her family members, but Papa-Daddy makes it clear that his influence in the small town is responsible for her getting the job, illustrating her lack of self-sufficiency in a patriarchal society. While the character’s prospects are limited because of her gender, working at the post office would have been a socially acceptable job for a woman in the 1940s.

Many of the items Sister brings to the post office aren’t hers, nor are they necessarily practical items for setting up a home. For instance, she claims a fern as her own because she watered it. She also brings her mother’s sewing machine, justified by saying that she paid the most toward the motor for it when the family gave it to Mama for Christmas. Lending further irony to Sister’s “independence,” she depends on the labor of a Black child she forces to haul these belongings up the hill nine times. This interaction illustrates one form of “power” Sister does have in the segregated South of the 1940s, standing in contrast to the child’s powerlessness.

Papa-Daddy’s Beard

Papa-Daddy’s beard is another representation of Independence Versus Lack of Autonomy in the story by highlighting his autonomy relative to that of the women in his family. His beard—also a representation of masculinity—becomes a source of conflict when Stella-Rondo tells Papa-Daddy that Sister wants him to cut it off. Papa-Daddy, positioned as an authority figure throughout the text, calls Sister a “hussy” and says he will “never cut off his beard as long as he lives” (45), informing the family that he has had this beard since he was 15.

While Papa-Daddy is as isolated in small-town Mississippi as the other characters, as a white male and the head of a family, Papa-Daddy would have more privilege in the World War II-era South than either the narrator or many of the secondary characters. His beard demonstrates his ability to choose in a society where freedom of choice, even in minor areas, was not offered to Black people or women. After the beard discussion, Papa-Daddy declares that he will go and lie in the hammock, illustrating the leisure he is free to enjoy as a man.

The Radio

The radio represents both isolation and community. Just as Sister finds herself estranged from her other family members, the radio and its technology enable her to both separate from and connect to the wider world.

The radio brings war news while the family is embroiled in its own “war” drama. Just as technology today can serve as an isolating force under the false auspice of community, Sister listens to the radio and its outside news while physically separated from her in-person community (in this case, her family). Notably, Sister even receives the radio because of a conflict. When Uncle Rondo becomes angry at Stella-Rondo for not continuing a chain letter from Flanders Field, he gives Sister the radio that he’d previously gifted to Stella-Rondo. Readers do not hear from any characters aside from the family, so the radio is the primary representation of the world outside the household.

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