By Alfred Bendixen, James Nagel
A significant other to the yankee brief Story strains the advance of this flexible literary style during the last 2 hundred years.
- Sets the fast tale in context, taking note of the interplay of cultural forces and aesthetic ideas
- Contributes to the continued redefinition of the yank canon, with shut realization to the achievements of girls writers in addition to such very important genres because the ghost tale and detective fiction
- Embraces assorted traditions together with African-American, Jewish-American, Latino, Native-American, and neighborhood brief tale writing
- Includes a bit interested by 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 advisor to Melville's “Bartleby, the Scrivener” (pages 35–49): Steven T. Ryan
Chapter four in the direction of background 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 USA (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 quick tales of Edith Wharton (pages 118–132): Donna Campbell
Chapter 10 the quick 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 normal moves: 19th? and Early Twentieth?Century brief Fiction and Social swap (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 quick tale: conception and perform (pages 277–294): Ruth D. Weston
Chapter 19 the fast tales of F. Scott Fitzgerald: constitution, Narrative strategy, type (pages 295–315): Kirk Curnutt
Chapter 20 “The glance of the World”: Richard Wright on viewpoint (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 lady id and Denise Chavez's The final of the Menu ladies (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 yank 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 may still I Go?” American Restlessness and the Short?Story Cycle (pages 482–501): Jeff Birkenstein
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Extra resources for A Companion to the American Short Story
Gluttony and intoxication often resulted, such that by the time each tale was read and debate over its merits and demerits ensued, the critical abilities of those assembled were muddled. Part of Poe’s plan was to lampoon not just popular fiction and its authors, but also the state of literary criticism as it then existed. The reader of each tale doubled as the narrator-protagonist, each evincing takeoffs of the personal characteristics and literary methods of the actual writer being mimed. 7 Had “Tales of the Folio Club” been published, Poe may well have been credited for creating a frame narrative book comparable with Tales of a Traveller, The Country of the Pointed Firs, Winesburg, Ohio, to name a few among many cycles/sequences of short fiction, or, for that matter, in verse, Idylls of the King, Modern Love, or the Spoon River Anthology.
The haunted house of Usher represents the warped mindset and likely the physical deterioration of the narrator. That he and Roderick have been close friends since childhood, and that he cannot choose but heed Usher’s plea that they meet again, implies that whatever informs Usher and the house (literal and symbolic) likewise affects him. Thus his journey to the Usher mansion, through a “singularly dreary tract of country,” which affects him with claustrophobia (CW 2. 397), represents a journey through his own depression toward its underlying causes.
Ed. D. Ramakrishna. New Delhi: ABC Publications, 1996. 63–82. ———. The Gothic’s Gothic: Study Aids to the Tradition of the Tale of Terror. New York: Garland, 1988. ———. ” Ruined Eden of the Present. Hawthorne, Melville, and Poe: Critical Essays in Honor of Darrel Abel. Eds. G. R. Thompson and Virgil L. Lokke. West Lafayette, IN: Purdue University Press, 1981. 355–74. ———. The Very Spirit of Cordiality: The Literary Uses of Alcohol and Alcoholism in the Tales of Edgar Allan Poe. Baltimore: Enoch Pratt Free Library and the Edgar Allan Poe Society of Baltimore, 1978.