A collection of essays by twenty short-story writers and critics, ranging from Poe to Gordimer, offers theoretical analyses of and approaches to the short story, considered as a distinct and significant genre.
A collection of essays that comprises a sourcebook for the study of the short story, originally published in 1976 as Short Story Theories (and cited in BCL3 ). The present edition reflects the renaissance in the short story, retaining a few key pieces from the earlier volume, but mostly bringing tog
Short Story Theories: A Twenty-First-Century Perspective problematizes different aspects of the renewal and development of the short story. The aim of this collection is to explore the most recent theoretical issues raised by the short story as a genre and to offer theoretical and practical perspectives on the form. Centering as it does on specific authors and on the wider implications of short story poetics, this collection presents a new series of essays that both reinterpret canonical writers of the genre and advance new critical insights on the most recent trends and contemporary authors. Theorizations about genre reflect on different aspects of the short story from a multiplicity of perspectives and take the form of historical and aesthetic considerations, gender-centered accounts, and examinations that attend to reader-response theory, cognitive patterns, sociolinguistics, discourse analysis, postcolonial studies, postmodern techniques, and contemporary uses of minimalist forms. Looking ahead, this collection traces the evolution of the short story from Chaucer through the Romantic writings of Poe to the postmodern developments and into the twenty-first century. This volume will prove of interest to scholars and graduate students working in the fields of the short story and of literature in general. In addition, the readability and analytical transparence of these essays make them accessible to a more general readership interested in fiction.
The short story is one of the most difficult types of prose to write and one of the most pleasurable to read. From Boccaccio's Decameron to The Collected Stories of Reynolds Price, Charles May gives us an understanding of the history and structure of this demanding form of fiction. Beginning with a general history of the genre, he moves on to focus on the nineteenth-century when the modern short story began to come into focus. From there he moves on to later nineteenth-century realism and early twentieth-century formalism and finally to the modern renaissance of the form that shows no signs of abating. A chronology of significant events, works and figures from the genre's history, notes and references and an extensive bibliographic essay with recommended reading round out the volume.
Although the short story has existed in various forms for centuries, it has particularly flourished during the last hundred years. Reader's Companion to the Short Story in English includes alphabetically-arranged entries for 50 English-language short story writers from around the world. Most of these writers have been active since 1960, and they reflect a wide range of experiences and perspectives in their works. Each entry is written by an expert contributor and includes biography, a review of existing criticism, a lengthier analysis of specific works, and a selected bibliography of primary and secondary sources. The volume begins with a detailed introduction to the short story genre and concludes with an annotated bibliography of major works on short story theory.
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 book is a study of the short story, one of the widest taught genres in English literature, from an innovative methodological perspective. Both liminality and the short story are well-researched phenomena, but the combination of both is not frequent. This book discusses the relevance of the concept of liminality for the short story genre and for short story cycles, emphasizing theoretical perspectives, methodological relevance and applicability. Liminality as a concept of demarcation and mediation between different processual stages, spatial complexes, and inner states is of obvious importance in an age of global mobility, digital networking, and interethnic transnationality. Over the last decade, many symposia, exhibitions, art, and publications have been produced which thematize liminality, covering a wide range of disciplines including literary, geographical, psychological and ethnicity studies. Liminal structuring is an essential aspect of the aesthetic composition of short stories and the cultural messages they convey. On account of its very brevity and episodic structure, the generic liminality of the short story privileges the depiction of transitional situations and fleeting moments of crisis or decision. It also addresses the moral transgressions, heterotopic orders, and forms of ambivalent self-reflection negotiated within the short story's confines. This innovative collection focuses on both the liminality of the short story and on liminality in the short story.
This Companion provides an accessible overview of short fiction by writers from England, Scotland, Ireland, Wales, and other international sites. A collection of international experts examine the development of the short story in a variety of contexts from the early nineteenth century to the present. They consider how dramatic changes in the publishing landscape during this period - such as the rise of the fiction magazine and the emergence of new opportunities in online and electronic publishing - influenced the form, covering subgenres from detective fiction to flash fiction. Drawing on a wealth of critical scholarship to place the short story in the English literary tradition, this volume will be an invaluable guide for students of the short story in English.
Long regarded as an undervalued and marginalised genre, the short story is undergoing a renaissance. The Short Story celebrates its unique appeal. Practitioners and scholars address the issues facing short story criticism in the 21st century. Author A.L. Kennedy shares the pleasures and frustrations of writing the short story in the literary marketplace. This is followed by an assessment of recent attempts to promote short story readership in the UK. Other contributors look at forms such as the short-short and the short story sequence. The range of authors discussed includes Martin Amis, Anita Desai, Salman Rushdie and James Joyce. The short story is the most international of genres; this is reflected in chapters on Jorge Luis Borges and Italo Calvino and on Japanese short fiction. Postcolonial and translation theory are combined with the close reading of specific texts. Neglected authors, such as the Welsh writer Dorothy Edwards and the colonial figure Frank Swettenham, are re-evaluated and we also consider genre writing, with chapters on crime fiction and Ray Bradbury’s Martian Chronicles. Integrating theory and practice, The Short Story will appeal both to writers and to students of literary criticism.
The ability to construct a nuanced narrative or complex character in the constrained form of the short story has sometimes been seen as the ultimate test of an author's creativity. Yet during the time when the short story was at its most popular - the late nineteenth and early twentieth centuries - even the greatest writers followed strict generic conventions that were far from subtle. This expanded and updated translation of Florence Goyet's influential La Nouvelle, 1870-1925: Description d'un genre à son apogée (Paris, 1993) is the only study to focus exclusively on this classic period across different continents. Ranging through French, English, Italian, Russian and Japanese writing - particularly the stories of Guy de Maupassant, Henry James, Giovanni Verga, Anton Chekhov and Akutagawa Ry?nosuke - Goyet shows that these authors were able to create brilliant and successful short stories using the very simple 'tools of brevity' of that period. In this challenging and far-reaching study, Goyet looks at classic short stories in the context in which they were read at the time: cheap newspapers and higher-end periodicals. She demonstrates that, despite the apparent intention of these stories to question bourgeois ideals, they mostly affirmed the prejudices of their readers. In doing so, her book forces us to re-think our preconceptions about this 'forgotten' genre.