Katherine Anne Porter, who died last September …, was best known to the public for her one and only novel, Ship of Fools, which, when published in 1962, immediately became a best seller. (p. 1)

Ship of Fools is a brilliant book. Porter herself was fond of it, and she pointed out to carping critics that it developed a major theme present in most of her work—the theme of the life of illusion, of self-deception. But it is not a great novel. The structure is loosely episodic and the crowded cast of characters is far too large. Porter apparently did not have the ability to construct a satisfactory plot of novel length that would bring into a significant relationship a few fully developed characters. Ship of Fools cannot stand comparison with the great Victorian novels nor with the major work of Henry James (whom, incidentally, Porter greatly admired). Her true genre was the short story and the novella (or long short story), and her accomplishments in those forms can stand any comparison. Porter once said, "I don't believe in style: The style is you," and she didn't like being called a stylist. Nevertheless, she may be, in fact, the greatest stylist in prose fiction in English of this century. There is of course the aforementioned Henry James, but a comparison, for example, of the opening pages of her "Hacienda" with the opening pages of The Ambassadors would be instructive to a young writer learning his craft. Sentence by sentence, paragraph by paragraph, Porter is better. Compared to her precise perceptions and carefully modulated rhythms, James's prose is somewhat slow-moving, ponderous, and diffuse. (pp. 1-2)

As time goes by, the accomplishments in American fiction, poetry, and criticism between the wars take on more and more significance. Katherine Anne Porter's stories, especially those written during this period, will be given an increasingly high position in our literary heritage. (p. 2)