With an Overview by Paul Smith and a Checklist to Hemingway Criticism, 1975–1990 New Critical Approaches to the Short Stories of Ernest Hemingway is an all-new sequel to Benson’s highly acclaimed 1975 book, which provided the first comprehensive anthology of criticism of Ernest Hemingway’s masterful short stories. Since that time the availability of Hemingway’s papers, coupled with new critical and theoretical approaches, has enlivened and enlarged the field of American literary studies. This companion volume reflects current scholarship and draws together essays that were either published during the past decade or written for this collection. The contributors interpret a variety of individual stories from a number of different critical points of view—from a Lacanian reading of Hemingway’s “After the Storm” to a semiotic analysis of “A Very Short Story” to an historical-biographical analysis of “Old Man at the Bridge.” In identifying the short story as one of Hemingway’s principal thematic and technical tools, this volume reaffirms a focus on the short story as Hemingway’s best work. An overview essay covers Hemingway criticism published since the last volume, and the bibliographical checklist to Hemingway short fiction criticism, which covers 1975 to mid-1989, has doubled in size. Contributors. Debra A. Moddelmog, Ben Stotzfus, Robert Scholes, Hubert Zapf, Susan F. Beegel, Nina Baym, William Braasch Watson, Kenneth Lynn, Gerry Brenner, Steven K. Hoffman, E. R. Hagemann, Robert W. Lewis, Wayne Kvam, George Monteiro, Scott Donaldson, Bernard Oldsey, Warren Bennett, Kenneth G. Johnston, Richard McCann, Robert P. Weeks, Amberys R. Whittle, Pamela Smiley, Jeffrey Meyers, Robert E. Fleming, David R. Johnson, Howard L. Hannum, Larry Edgerton, William Adair, Alice Hall Petry, Lawrence H. Martin Jr., Paul Smith

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.

Part of the Critical Assessments of Writers in English series, the aim of which is to provide complete collections of previously published, formative critical assessments covering the whole work of individual writers. The titles should be useful to serious readers of literature, researchers and advanced students.

Provides a clear introduction to the key terms and frameworks in cognitive poetics and stylistics

Bram Stoker is not only the author of Dracula, but he has also written other eleven novels and a collection of short stories. In this essay we analyse these short stories, whose plots will be revealed, to bring to light the characteristics and contradictions of an author who lived the crisis between late nineteenth and early twentieth century.

In 'Complete Short Stories of Joseph Conrad', readers are granted access to a comprehensive collection of Conrad's brilliant short stories, along with his personal memoirs, letters, and critical essays. Conrad's writing style is characterized by intricate prose, rich symbolism, and profound themes of human nature, colonialism, and existentialism. Each story offers a deep exploration of moral dilemmas and psychological complexities, showcasing Conrad's mastery of the short story form within the literary context of the late 19th and early 20th centuries. Joseph Conrad, a Polish-British author, drew from his own experiences as a sailor and adventurer to infuse his works with a sense of realism and authenticity. His deep understanding of imperialism and the human psyche is reflected in his diverse body of work, making him a significant figure in English literature. I highly recommend 'Complete Short Stories of Joseph Conrad' to readers interested in immersive storytelling, complex characters, and thought-provoking narratives. Conrad's timeless tales continue to resonate with modern audiences, offering profound insights into the human condition and the complexities of the world.

Beginning in the 1890s, reaching its first full realization by modernist writers in the 1920s, and brought to its heyday during the Canadian Renaissance starting in the 1960s, the short story has become Canada's flagship genre. It continues to attract the country's most accomplished and innovative writers today, among them Margaret Atwood, Mavis Gallant, Alice Munro, Carol Shields, and many others. Yet in contrast to the stature and popularity of the genre and the writers who partake in it, surprisingly little literary criticism and theory has been devoted to the Canadian short story. This collection redresses that imbalance by providing the first collection of critical interpretations of a range of thirty well-known and often-anthologized Canadian short stories from the genre's beginnings through the twentieth century. A historical survey of the genre introduces the volume and a timeline comparing the genre's development in Canada, the US, and Great Britain via representative examples completes it. The collection is geared both to specialists in and to students of Canadian literature. For the latter it is of particular benefit that the volume provides not only a collection of interpretations, but a comprehensive introduction to the history of the Canadian short story. Reingard M. Nischik is professor and chair of American Literature at the University of Constance, Germany.

The essays in this volume seek to explore the genre of the short story in India and its relationship with English language and literature. Various aspects of the question are taken up the impact of colonialism; the way English has shaped (or not) short story writing; why, how and in what contexts English words are used, feminist perspectives in the writings of women; the Indian diaspora; the teaching of the short story to Indian students and so on.

This book applies the techniques of semiotic analysis to a selection of short stories by Leonid Andreev in an attempt to offer one answer to the problems of categorizing Andreev's unique art and placing it within a literary-evolutionary perspective. Drawing on a range of literary theory from early Russian Formalism onwards, the study proceeds from one level to another according to a principle of 'degree of abstraction', so that each level constitutes firstly an independent account of Andreev's texts in itself, and secondly one stage in an overall analysis.

As a literary genre, Indian short story, next to poetry, is the most popular and accepted form of literature for its variety and nuance of Indian experience. Evolving over time, it has gained wide currency among people. Even after its recourse to traditional rules of the craft, Indian short story amazingly presents itself an original and distinctive form of art. Developed out of contemporary native literature and western storytelling technique, Indian short story presents an amalgation of two different literary traditions which has become unique and distinctive in course of time and long been catering to the taste of people. Ever since its origin, it has already witnessed a plethora of Indian writers who have made significant contributions to this genre by encapsulating the essence of Indian life and culture. They are Rabindranath Tagore, Munshi Premchand, R.K. Narayan, Mulk Raj Anand, Ismat Chughtai, Ruskin Bond, Khushwant Singh, Saadat Hasan Manto, Ashapurna Devi, Jhumpa Lahiri, Anita Desai, Kiran Desai, Chitra Banerjee Divakaruni, Anita Nair, Qurratulain Hyder, Namita Gokhale, Madhulika Liddle , just to name a few. At present Indian short story has taken a wider form, much more than earlier and almost every writer has started trying her or his hand at this field that it is too difficult for one to sum up the whole in one singular work. Still this present book is an endeavour to compile the works of major Indian short story writers in a short but comprehensive way in order to supply the best possible materials to readers, writers, academics, scholars and students who wish to do further studies in this field. There are twenty six chapters in this book which together presents a rich tapestry of this genre. Hopefully this book will march towards many unexplored realms exciting many curious minds, restarting many fruitful dialogues and invigorating many fresh and new ideas among academics, scholars and students alike.