A COMPANION TO THE AMERICAN SHORT STORY A Companion to the American Short Story traces the development of this versatile literary genre over the past two centuries. Written by leading critics in the field, and edited by two major scholars, it explores a wide range of writers, from Edgar Allen Poe and Edith Wharton, at the end of the nineteenth century to important modern writers such as Ernest Hemingway, William Faulkner, F. Scott Fitzgerald, and Richard Wright. Contributions with a broader focus address groups of multiethnic, Asian, and Jewish writers. Each chapter places the short story into context, focusing on the interaction of cultural forces and aesthetic principles. The Companion takes account of cutting edge approaches to literary studies and contributes to the ongoing redefinition of the American canon, embracing genres such as ghost and detective fiction, cycles of interrelated short fiction, and comic, social and political stories. The volume also reflects the diverse communities that have adopted this literary form and made it their own, featuring entries on a variety of feminist and multicultural traditions. This volume presents an important new consideration of the role of the short story in the literary history of American literature.

The American short story has always been characterized by exciting aesthetic innovations and an immense range of topics. This handbook offers students and researchers a comprehensive introduction to the multifaceted genre with a special focus on recent developments due to the rise of new media. Part I provides systematic overviews of significant contexts ranging from historical-political backgrounds, short story theories developed by writers, print and digital culture, to current theoretical approaches and canon formation. Part II consists of 35 paired readings of representative short stories by eminent authors, charting major steps in the evolution of the American short story from its beginnings as an art form in the early nineteenth century up to the digital age. The handbook examines historically, methodologically, and theoretically the coming together of the enduring narrative practice of compression and concision in American literature. It offers fresh and original readings relevant to studying the American short story and shows how the genre performs American culture.

This is a concise yet comprehensive treatment of the American short story that includes an historical overview of the topic as well as discussion of notable American authors and individual stories, from Benjamin Franklin’s “The Speech of Miss Polly Baker” in 1747 to “The Joy Luck Club”. Includes a selection of writers chosen not only for their contributions of individual stories but for bodies of work that advanced the boundaries of short fiction, including Washington Irving, Sarah Orne Jewett, Stephen Crane, Jamaica Kincaid, and Tim O’Brien Addresses the ways in which American oral storytelling and other narrative traditions were integral to the formation and flourishing of the short story genre Written in accessible and engaging prose for students at all levels by a renowned literary scholar to illuminate an important genre that has received short shrift in scholarly literature of the last century Includes a glossary defining the most common terms used in literary history and in critical discussions of fiction, and a bibliography of works for further study

The last 50 years have proved a particularly lively period in the history of the short story form. This new collection gives a full picture of the richness and diversity of this most American of genres from its very beginnings to the present day. The collection offers a freshly stimulating combination of old favourites such as Mark Twain's 'Jim Smiley's Jumping Frog' and Edgar Allan Poe's 'The Tell-Tale Heart', unfamiliar works by well-known authors, such as Ernest Hemingway's 'Out of Season', Stephen Crane's 'An Episode of War' and F. Scott Fitzgerald's 'The Lost Decade' , and some remarkable stories by wonderful but less well known writers such as Mary Wilkins Freeman and Charles W. Chestnutt who deserve a wider audience. It's a compact book but it covers a lot of ground. There are 31 stories, covering 199 years (that is, the first story was published in 1807; the last is from 2006). The final three authors are Lorrie Moore, Jhumpa Lahiri and Lydia Davis. Table of contents Washington Irving - The Little Man in Black (1807) Nathaniel Hawthorne - Young Goodman Brown (1835) Edgar Allan Poe - The Tell-Tale Heart (1843) Fanny Fern - Aunt Hetty on Matrimony (1851) Mark Twain - Jim Smiley and His Jumping Frog (1865) Joel Chandler Harris - The Tar Baby Story (1880) Mary Wilkins Freeman - Two Friends (1887) Charles W. Chesnutt - The Wife of his Youth (1898) Henry James - The Real Right Thing (1899) Stephen Crane - An Episode of War (1899) O. Henry - Hearts and Hands (1903) Sherwood Anderson - The Untold Lie (1917) Ernest HemingwayOut of Season (1923) Edith Wharton - Atrophy (1927) Dorothy Parker - New York to Detroit (1928) Eudora Welty - The Whistle (1938) William Faulkner - Barn Burning (1939) F. Scott Fitzgerald - The Lost Decade (1939) Zora Neale Hurston - Now You Cookin' with Gas (1942) Bernard Malamud - The First Seven Years (1950) Flannery O'Connor - A Late Encounter with the Enemy (1953) John Updike - Sunday Teasing (1956) John Cheever - Reunion (1962) Grace Paley - Wants (1971) Alice Walker - The Flowers (1973) Donald Barthelme - I Bought a Little City (1974) Raymond Carver - Collectors (1975) Richard Ford - Communist (1985) Lorrie Moore - Starving Again (1990) Jhumpa Lahiri - The Third and Final Continent (1999) Lydia Davis - The Caterpillar (2006)

Asian America has produced numerous short-story writers in the 20th century. Some emerged after World War II, yet most of these writers have flourished since 1980. The first reference of its kind, this volume includes alphabetically arranged entries for 49 nationally and internationally acclaimed Asian American writers of short fiction. Each entry is written by an expert contributor and includes a biography, a discussion of major works and themes, a survey of the writer's critical reception, and primary and secondary bibliographies. Writers include Frank Chin, Sui Sin Far, Shirely Geok-lin Lim, Toshio Mori, and Bharati Mukherjee. An introductory essay provides a close examination of the Asian American short story, and the volume closes with a list of works for further reading.

This collection of essays by leading scholars insists on a larger recognition of the importance and diversity of crime fiction in U.S. literary traditions. Instead of presenting the genre as the property of Dashiell Hammett and Raymond Chandler, this book maps a larger territory which includes the domains of Mark Twain, F. Scott Fitzgerald, William Faulkner, Richard Wright, Flannery O’Connor, Cormac McCarthy and other masters of fiction.The essays in this collection pay detailed attention to both the genuine artistry and the cultural significance of crime fiction in the United States. It emphasizes American crime fiction’s inquiry into the nature of democratic society and its exploration of injustices based on race, class, and/or gender that are specifically located in the details of American experience.Each of these essays exists on its own terms as a significant contribution to scholarship, but when brought together, the collection becomes larger than the sum of its pieces in detailing the centrality of crime fiction to American literature. This is a crucial book for all students of American fiction as well as for those interested in the literary treatment of crime and detection, and also has broad appeal for classes in American popular culture and American modernism.

The Bible in the American Short Story examines Biblical influences in the post-World War II American short story. In a series of accessible chapters, Lesleigh Cushing Stahlberg and Peter S. Hawkins offer close-readings of short stories by leading contemporary writers such as Flannery O'Connor, Allegra Goodman, Tobias Wolff and Kirstin Valdez Quade that highlight the biblical passages that they reference. Exploring episodes from the Hebrew Bible and the New Testament and both Jewish and Christian heritages, this book is an important contribution to understanding the influence of the Bible in contemporary literature.

The Short Story after Apartheid offers the first major study of the anglophone short story in South Africa since apartheid’s end. By focusing on the short story this book complicates models of South African literature dominated by the novel and contributes to a much-needed generic and formalist turn in postcolonial studies. Literary texts are sites of productive struggle between formal and extra-formal concerns, and these brief, fragmentary, elliptical, formally innovative stories offer perspectives that reframe or revise important concerns of post-apartheid literature: the aesthetics of engaged writing, the politics of the past, class and race, the legacies of violence, and the struggle over the land. Through an analysis of key texts from the period by Nadine Gordimer, Ivan Vladislavić, Zoë Wicomb, Phaswane Mpe, and Henrietta Rose-Innes, this book assesses the place of the short story in post-apartheid writing and develops a fuller model of how artworks allow and disallow forms of social thought.

Includes "The Eyes of the Panther," Ambrose Bierce; "The Locket," Kate Chopin; "Out of Season," Ernest Hemingway; "The Black Cat," Edgar Allan Poe; "Luck," Mark Twain; "The Dilettante," Edith Wharton; more.

More Time studies the contemporary short story and focuses on four recent collections: Alice Munro's Dear Life (2012); Andre Dubus's Dancing After Hours (1996); Joy Williams's The Visiting Privilege (2015); and Lydia Davis's Can't and Won't (2014). Each publication has appeared near the conclusion of a career devoted all but exclusively to short stories, with each defining a 'late style' honed over a lifetime. As well, each diverges from others in ways that have profoundly shaped our generic conceptions, and collectively they represent the four most innovative practitioners of the past half-century (with the arguable exception of Raymond Carver). Yet in an era when writing programs, The New Yorker, and distinguished journals all promulgate the short story, it remains relatively under-examined as a major literary form. We continue to argue about what a story inherently is, ignoring how differences among practitioners enliven the field. Dubus, Munro, Williams, and Davis each defy critical efforts to identify the story form's presumed constitution, marked by a supposedly special shape or requisite length or distinct narrative trajectory. And the very contrast among their efforts reveals the expansiveness of the genre, though few have taken such a cross-glancing interpretive approach. This volume opens up discussion, shifting from close analysis into larger speculation about possibilities established by the most innovative writers in their later work.