By Alfred Bendixen, James Nagel
A significant other to the yank brief Story lines the improvement of this flexible literary style during the last two hundred years.
- Sets the quick tale in context, taking note of the interplay of cultural forces and aesthetic rules
- Contributes to the continuing redefinition of the yank canon, with shut awareness to the achievements of ladies writers in addition to such vital genres because the ghost tale and detective fiction
- Embraces various traditions together with African-American, Jewish-American, Latino, Native-American, and neighborhood brief tale writing
- Includes a bit concerned with particular authors and texts, from Edgar Allen Poe to John Updike
Chapter 1 The Emergence and improvement of the yank brief tale (pages 1–19): Alfred Bendixen
Chapter 2 Poe and the yankee brief tale (pages 20–34): Benjamin F. Fisher
Chapter three A consultant to Melville's “Bartleby, the Scrivener” (pages 35–49): Steven T. Ryan
Chapter four in the direction of historical past and past: Hawthorne and the yank brief tale (pages 50–67): Alfred Bendixen
Chapter five Charles W. Chesnutt and the Fictions of a “New” the United States (pages 68–77): Charles Duncan
Chapter 6 Mark Twain and the yank comedian brief tale (pages 78–90): David E. E. Sloane
Chapter 7 New England Local?Color Literature: A Colonial Formation (pages 91–104): Josephine Donovan
Chapter eight Charlotte Perkins Gilman and the Feminist culture of the yank brief tale (pages 105–117): Martha J. Cutter
Chapter nine the fast tales of Edith Wharton (pages 118–132): Donna Campbell
Chapter 10 the fast tales of Stephen Crane (pages 133–151): Paul Sorrentino
Chapter eleven Kate Chopin (pages 152–170): Charlotte Rich
Chapter 12 Frank Norris and Jack London (pages 171–186): Jeanne Campbell Reesman
Chapter thirteen From “Water Drops” to basic moves: 19th? and Early Twentieth?Century brief Fiction and Social switch (pages 187–214): Andrew J. Furer
Chapter 14 the 20 th Century: A interval of Innovation and Continuity (pages 215–223): James Nagel
Chapter 15 The Hemingway tale (pages 224–243): George Monteiro
Chapter sixteen William Faulkner's brief tales (pages 244–255): Hugh Ruppersburg
Chapter 17 Katherine Anne Porter (pages 256–276): Ruth M. Alvarez
Chapter 18 Eudora Welty and the fast tale: idea and perform (pages 277–294): Ruth D. Weston
Chapter 19 the quick tales of F. Scott Fitzgerald: constitution, Narrative procedure, kind (pages 295–315): Kirk Curnutt
Chapter 20 “The glance of the World”: Richard Wright on point of view (pages 316–327): Mikko Tuhkanen
Chapter 21 Small Planets: the quick Fiction of Saul Bellow (pages 328–344): Gloria L. Cronin
Chapter 22 John Updike (pages 345–365): Robert M. Luscher
Chapter 23 Raymond Carver within the Twenty?First Century (pages 366–379): Sandra Lee Kleppe
Chapter 24 Multi?Ethnic woman identification and Denise Chavez's The final of the Menu women (pages 380–388): Karen Weekes
Chapter 25 panorama as Haven in American Women's brief tales (pages 389–407): Leah B. Glasser
Chapter 26 the yankee Ghost tale (pages 408–424): Jeffrey Andrew Weinstock
Chapter 27 The Detective tale (pages 425–435): Catherine Ross Nickerson
Chapter 28 The Asian American brief tale (pages 436–449): Wenying Xu
Chapter 29 The Jewish American tale (pages 450–465): Andrew Furman
Chapter 30 The Multiethnic American brief tale (pages 466–481): Molly Crumpton Winter
Chapter 31 “Should I remain or should still I Go?” American Restlessness and the Short?Story Cycle (pages 482–501): Jeff Birkenstein
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Additional resources for A Companion to the American Short Story
See “Reminiscences of Poe,” 59. See also Fisher, The Very Spirit of Cordiality, 3, 5–6, 19–22. ” As late as 1969 Poe’s comic tales were deemed “rather regrettable efforts,” by Michael Allen in Poe and the British Magazine Tradition, 142. ” 10 11 33 Poe revised his original version of “Usher” so that Roderick and Madeline were no longer identical twins, such being a scientific impossibility (CW 2. 404). The significance of the Ushers’ names is noted in Mabbott’s “Poe’s Vaults,” 542–3. ’ ” References and Further Reading Allen, Michael.
Howe, and Hamlin Garland, all of whom fashioned a specific kind of literary landscape that would be reshaped into the modern fiction of Sherwood Anderson and Sinclair Lewis. The South had Mary Noailles Murfree, Thomas Nelson Page, James Lane Allan, Joel Chandler Harris, and Charles Chesnutt (whose short stories provided the most significant representation of African American experience of his time). Louisiana produced its own bounty of distinguished writing with masterful short stories by George Washington Cable, Grace King, Kate Chopin, and Alice Dunbar-Nelson.
As such, it is fundamentally opposed to realism’s focus on complex choices made by complex individuals. In fact, naturalism rarely views human beings as complex at all; instead, it sees and portrays people in fairly generic terms, usually as victims. The naturalist sometimes does not even provide a name for his main character, and often relies largely on animal and/or machine imagery to describe human behavior. Works of naturalistic fiction often devote more time and energy to the description of setting, which often embodies the forces operating on characters, than to characterization.
A Companion to the American Short Story by Alfred Bendixen, James Nagel