The article explores the ambivalence of masculinity in Eudora Welty’s Delta Wedding (1946). Starting from the recognition that Welty’s texts have often been read as feminist interrogations of history, this article argues that Delta Wedding should be read less as a feminist text than as the feminine creation of a tale of masculine heroism (that of George Fairchild) in which the ideal of masculinity is given as visual pleasure. The masculine South portrayed by Welty is queered and subverted; Masculinity—rather than being fixed, natural, and heroic—is here exposed as fragile, readily imitated, restrained to exteriors and appearances. Welty probes into the fictionality of the masculine South to reveal that Southern masculinity is but a slippery notion.