By Alfred Bendixen, James Nagel
A significant other to the yank brief Story strains the advance of this flexible literary style over the last two hundred years.
- Sets the quick tale in context, being attentive to the interplay of cultural forces and aesthetic rules
- Contributes to the continued redefinition of the yankee canon, with shut cognizance to the achievements of girls writers in addition to such vital genres because the ghost tale and detective fiction
- Embraces diversified traditions together with African-American, Jewish-American, Latino, Native-American, and nearby brief tale writing
- Includes a bit inquisitive about 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 yank 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 heritage and past: Hawthorne and the yankee 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 yankee 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 common moves: 19th? and Early Twentieth?Century brief Fiction and Social swap (pages 187–214): Andrew J. Furer
Chapter 14 the 20th 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 method, variety (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 fast 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 id 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 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 should still I Go?” American Restlessness and the Short?Story Cycle (pages 482–501): Jeff Birkenstein
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Extra info for A Companion to the American Short Story
II Just what Poe’s original intents as regards the five tales published in the Saturday Courier may have been remains unclear. ” The Folio Club membership included caricatures of popular authors, mostly writers of fiction, who met one evening a month, beginning the event with ample (alcoholic) drink and much good food. 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.
Roderick’s and the narrator’s repression of psycho-sexual impulses rebounds upon them, first, with depression. Depression in turn blunts any normal attempt to regain dynamic life, so fears mount, eventually to explosive levels. No wonder, then, that Madeline’s horrifying return is depicted with an aura of vampirism. The repressed will make itself known, but in overpowering ways, and the realization of such overwhelming force occasioned by release from confinement makes the fear of the repressor(s) unbearable.
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. Poe’s experimental book never saw print, however, because his subtle humor, evaluators reported, would baffle average readers, thereby putting sales at risk.
A Companion to the American Short Story by Alfred Bendixen, James Nagel