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He makes a great deal of a succession of illnesses and accidents that plagued Mitchell’s life (her letters offer a barrage of boils and broken bones, of collisions with cars and with her furniture), and he takes her somewhat loose claim that she began writing her novel only because “I couldn’t walk for a couple of years” as proof that, in his words, “she never failed to associate her fiction with disease and suffering.” Mitchell’s experience of physical pain was, according to Pyron, a determining element of what she finally wrote, and the writing itself thus becomes a story fulfilled only in “a chronicle of horrors—death, abandonment, rejection, alienation, smashed hopes, and fatal misunderstanding.” Convinced that his heroine has been done wrong by a Northern literary establishment that despised her politics and dismissed her art, Pyron is nothing if not zealous in supplying the required interpretative shadows—the “existential pessimism”—to prove to these critics that there was something to dismiss

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