By Alfred Bendixen, James Nagel
A better half to the yank brief Story lines the improvement of this flexible literary style over the last 2 hundred years.
- Sets the quick tale in context, taking note of the interplay of cultural forces and aesthetic ideas
- Contributes to the continuing redefinition of the yank canon, with shut cognizance to the achievements of ladies writers in addition to such very important genres because the ghost tale and detective fiction
- Embraces diversified traditions together with African-American, Jewish-American, Latino, Native-American, and local brief tale writing
- Includes a piece enthusiastic 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 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 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 US (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 yankee brief tale (pages 105–117): Martha J. Cutter
Chapter nine the quick 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 common moves: 19th? and Early Twentieth?Century brief Fiction and Social switch (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: concept 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 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 girl 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 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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Additional info for A Companion to the American Short Story
Edgar Allan Poe: Essays and Reviews. New York: New American Library, 1984. Willard, Nancy. ” New York Times Book Review (3 October 1976): 30. Woolf, Paul. ’ ” Clues: A Journal of Detection 25 (2006): 6–19. 3 A Guide to Melville’s “Bartleby, the Scrivener” Steven T. Ryan Let’s begin with possibly the best dash in American literature: I seldom lose my temper; much more seldom indulge in dangerous indignation at wrongs and outrages; but I must be permitted to be rash here and declare, that I consider the sudden and violent abrogation of the office of Master in Chancery, by the new Constitution, as a – premature act; inasmuch as I had counted upon a life-lease of the profits, whereas I only received those of a few short years.
3 A Guide to Melville’s “Bartleby, the Scrivener” Steven T. Ryan Let’s begin with possibly the best dash in American literature: I seldom lose my temper; much more seldom indulge in dangerous indignation at wrongs and outrages; but I must be permitted to be rash here and declare, that I consider the sudden and violent abrogation of the office of Master in Chancery, by the new Constitution, as a – premature act; inasmuch as I had counted upon a life-lease of the profits, whereas I only received those of a few short years.
Both have to do with a sense of security based upon the object world but not upon object relationships, for the narrator is both a social man and a solitary man – social in the sense of his dependency upon a social system and wealth and solitary in the sense that he actually has no one and has nothing but the social construct of his office. He stands as Melville’s accomplished man even if his accomplishments ring hollow. A Companion to the American Short Story Edited by Alfred Bendixen and James Nagel © 2010 Alfred Bendixen and James Nagel.