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The Short Story

critical studies, theory, and classic short stories

critical studies, theory, and classic short stories

Tales of Mystery and Imagination

April 29, 2011 by Roy Johnson

short stories of Gothic horror and the macabre

Tales of Mystery and Imagination is the name often given to collections of Poe’s stories. Edgar Allan Poe is celebrated as the originator of several types of short story – the tale of Gothic horror, the science fiction story, the detective story, the tall tale, the puzzle, and the literary hoax. In fact he was preceded in some of these by E.T.A. Hoffmann, but his influence has been much more widespread, and interestingly, given this influence, he was the first well-known American author to earn his living through writing – though this did not prevent him dying in poverty and neglect (dressed in somebody else’s clothes).

Tales of Mystery and ImaginationHe often starts a story with a philosophic reflection, and the central purpose of the story is to illustrate the idea. But what makes them so striking and memorable is that the idea is both articulated via the narrator’s anguished state of mind and encapsulated in a vivid image – going down in a sinking ship; suffering torture in the Spanish Inquisition; a premature burial; and a heart which continues to beat even after a brutal murder. These are images of the Gothic that have kept the horror movie industry fuelled with content for almost the last hundred years.

Very little is overtly dramatized in Poe stories. Characters rarely engage in conversation. Everything is in the grip of a narrator who is normally relating events at emotional fever pitch. “I was sick – sick unto death … why will you say I am mad … tomorrow I die, and to-day I would unburthen my soul.” These are the voices of existential anxiety we have come to know via Dostoyevski, Nietzsche, and Kafka.

In his stories lots of things happen twice. A man is stranded on a doomed ship, which is struck by another bigger vessel and takes him into the Abyss. A man has a beautiful wife who falls ill and dies. When he remarries, his second wife goes the same way. Another man has a wife who dies giving birth to a girl – who becomes a replica of her mother, and dies the same way. The women in his stories do not last long. Even if they start out as beautiful young maidens, they tend to become sickly, they fade, they die, and are entombed. In one of his most famous doppelganger stories, the protagonist William Wilson is pursued throughout his debauched life by another man who looks exactly the same, and is also called William Wilson. You don’t need a brass plaque on your front door to realise that these are stories of split personality, of guilty conscience, of the duality of being.

Poe is perhaps most celebrated as the inventor of the detective story. In The Murders in the Rue Morgue his super-intellectual hero Auguste Dupin solves an almost impossibly difficult problem (murder in a locked room) by what appears to be a combination of acute observation and pure reason. He is presented with the same eyewitness accounts as the police, but outsmarts them by superior logic. (Actually, Poe cheats slightly by having Dupin locate extra clues).

But Poe is less interested in dramatizing the solution to a crime than exploring the misconceptions that make things seem mysterious or puzzling in the first place’. Dupin spends most of his time explaining why the Prefect of the Parisian police cannot solve crimes because his thinking is trammelled in convention. Despite all the improbabilities of the plot (windows with hidden spring catches, an Ourang-Utang with a cutthroat razor) the tale established a formula for the detective story which has survived to this day.

In terms of the Gothic tradition, Poe piles one effect upon another – entombment, necrophilia, ruined abbeys, murder, alcohol and drugs. Nothing is spared in his quest to express intensity of emotion and horror of effect. In one of the other famous pieces in this collection, ‘The Fall of the House of Usher’, Poe combines themes of incest, premature burial, and a decaying mansion that ends up split asunder and collapsing into its own moat. All the stories cry out for interpretation, and it is to his credit that despite what are often seen as moments of dubious excess (rotting corpses, a protagonist who extracts all his wife’s teeth before she is dead) they continue to yeild up meaning to a succession of readings even today – more than one hundred and fifty years after they were first written.

Tales of Mystery and Imagination Buy the book at Amazon UK

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© Roy Johnson 2011


Edgar Allan Poe, Selected Tales, Oxford: Oxford University Press, 2008, pp.338, ISBN: 0199535779


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Filed Under: 19C Horror, Short Stories, The Short Story Tagged With: Edgar Allan Poe, Gothic horror, Literary studies, The Short Story

The Awakening and Other Stories

August 9, 2009 by Roy Johnson

short stories from a ‘new woman’ of the 1890s

Kate Chopin was an American writer who is now best known for her novel The Awakening (1899) which was ‘re-discovered’ in the 1960s. But in fact she was a professional and quite successful author in her own lifetime who earned part of her living by placing her short stories with magazines. Her stories embrace the modern tradition, created in the late nineteenth century, of describing situations or dramatic episodes, then leaving them to speak for themselves.

The Awakening and Other Stories Without doubt she was what many people would call ‘ahead of her time’. It is no surprise that with the reassertion of women’s rightful place in cultural history which occurred in the 1960s, she was seen as an unjustly neglected figure. And reading her stories today, it’s amazing how fresh and modern they seem, My guess is that she will now retain her place in the literary canon.

She comes from the aristocratic landowning south of the United States with the Gulf of Mexico and the Caribbean as its neighbours, and this cultural miscegenation is reflected in her writing – both in the linguistically rich mixture of English, French, and Spanish vocabulary and in the mores of her characters.

She tackles many of the subjects favoured by ‘new women’ of the period – the critique of patriarchy, the yearning for self-expression amongst females, the social perspective on daily life which sees the personal as political.

Her default manner is a mild Jane Austen-like irony which reveals the vanities and foolishness of everyday life. In tone and literary style, she is very much a precursor to Jean Rhys – another female Caribbean writer who explored similar themes.

The major text in this collection is her short novel or novella – The Awakening. It’s this work by which she is now best known, but in fact this should not detract from her accomplishments as a writer of short stories.

The Awakening is a slow, beautifully paced work set in New Orleans at the end of the nineteenth century. Edna Pontellier is a married woman on summer holiday on the Gulf in the process of waking up to a new sense of responsiveness to the world. She does this via ecstatic responses to social mood, to romantic music, and to swimming at night.

A feeling of exultation overtook her, as if some power of significant import had been given her to control the working of her body and hr soul. She grew daring and reckless, overestimating her strength. She wanted to swim far out, where no woman had swum before.

The narrative is composed of short scenes, pregnant with significance, which follow each other like the acts of a play. She captures perfectly the elegant cadences of the aristocratic landowning south of which she was part.

When the holiday is over she progressively distances herself from her husband and even her children. She is also surprised to discover that she misses a young would-be lover when he leaves abruptly to seek his fortune in Mexico. Nevertheless, when her husband goes away on business she begins a flirtation with another man.

With husband conveniently out of the way, when the first lover returns unexpectedly, she declares herself to him, but almost immediately realises that one man succeeding another in her life is not the answer to the process of self-realisation which her summer experiences have brought about.

This has quite rightly become a central text for anyone even mildly sympathetic to the feminist movement – the story of a conventionally successful woman who chooses to reject the central values of her society in favour of pursuing a goal of self-realisation. Ultimately, she opts to pay the ultimate price for doing so – but the consummate skill with which her narrative is articulated makes it a milestone of the twentieth century, on whose eve it was published.

© Roy Johnson 2009

The Awakening   Buy the book at Amazon UK

The Awakening   Buy the book at Amazon US


Kate Chopin, The Awakening and Other Stories, Oxford: Oxford University Press, 2000, pp.410, ISBN: 0192823000


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Filed Under: Short Stories, The Novella, The Short Story Tagged With: Kate Chopin, Literary studies, Short story, The modern short story

The Complete Short Stories of Virginia Woolf

November 26, 2014 by Roy Johnson

The Complete Short Stories of Virginia Woolf is a series of tutorials and guidance notes on all Woolf’s shorter fiction. She wrote many of these stories as experimental sketches or exercises in which she developed new techniques for prose fiction and the art of story-telling. The majority of the stories were written between 1917 and the early 1930s – a period which also saw the creation of her most famous modernist novels. The series is an on-going compilation and is shown here in alphabetical order. Dates given are for first publication.

The Complete Short Stories of Virginia Woolf   A Haunted House   — (1921)
The Complete Short Stories of Virginia Woolf   A Simple Melody   — (1925)
The Complete Short Stories of Virginia Woolf   A Summing Up   — (1944)
The Complete Short Stories of Virginia Woolf   An Unwritten Novel   — (1920)
The Complete Short Stories of Virginia Woolf   Ancestors   — (1923)
The Complete Short Stories of Virginia Woolf   Happiness   — (1925)
The Complete Short Stories of Virginia Woolf   In the Orchard   — (1923)
The Complete Short Stories of Virginia Woolf   Kew Gardens   — (1917)
The Complete Short Stories of Virginia Woolf   Moments of Being   — (1925)
The Complete Short Stories of Virginia Woolf   Monday or Tuesday   — (1921)
The Complete Short Stories of Virginia Woolf   Phyllis and Rosamond   — (1906)
The Complete Short Stories of Virginia Woolf   Solid Objects   — (1920)
The Complete Short Stories of Virginia Woolf   Sympathy   — (1919)
The Complete Short Stories of Virginia Woolf   The Evening Party   — (1920)
The Complete Short Stories of Virginia Woolf   The Introduction   — (1925)
The Complete Short Stories of Virginia Woolf   The Lady in the Looking-Glass   — (1929)
The Complete Short Stories of Virginia Woolf   The Legacy   — (1940)
The Complete Short Stories of Virginia Woolf   The Man who Loved his Kind   — (1944)
The Complete Short Stories of Virginia Woolf   The Mark on the Wall   — (1917)
The Complete Short Stories of Virginia Woolf   The Mysterious Case of Miss V   — (1906)
The Complete Short Stories of Virginia Woolf   The New Dress   — (1927)
The Complete Short Stories of Virginia Woolf   The Shooting Party   — (1938)
The Complete Short Stories of Virginia Woolf   The String Quartet   — (1921)
The Complete Short Stories of Virginia Woolf   The Symbol   — (1930s)
The Complete Short Stories of Virginia Woolf   The Watering Place   — (1941)
The Complete Short Stories of Virginia Woolf   Together and Apart   — (1944)


Mont Blanc pen - Virginia Woolf edition

Mont Blanc pen – the Virginia Woolf special edition


Other works by Virginia Woolf

Virginia Woolf To the LighthouseTo the Lighthouse (1927) is the second of the twin jewels in the crown of her late experimental phase. It is concerned with the passage of time, the nature of human consciousness, and the process of artistic creativity. Woolf substitutes symbolism and poetic prose for any notion of plot, and the novel is composed as a tryptich of three almost static scenes – during the second of which the principal character Mrs Ramsay dies – literally within a parenthesis. The writing is lyrical and philosophical at the same time. Many critics see this as her greatest achievement, and Woolf herself realised that with this book she was taking the novel form into hitherto unknown territory.
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Woolf - OrlandoOrlando (1928) is one of her lesser-known novels, although it’s critical reputation has risen in recent years. It’s a delightful fantasy which features a character who changes sex part-way through the book – and lives from the sixteenth to the twentieth century. Using this device (which turns out to be strangely credible) Woolf explores issues of gender and identity as her hero-heroine moves through a variety of lives and personal adventures. Orlando starts out as an emissary to the Court of St James, lives through friendships with Swift and Alexander Pope, and ends up motoring through the west end of London on a shopping expedition in the 1920s. The character is loosely based on Vita Sackville-West, who at one time was Woolf’s lover. The novel itself was described by Nigel Nicolson (Sackville-West’s son) as ‘the longest and most charming love-letter in literature’.
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Kew GardensKew Gardens is a collection of experimental short stories in which Woolf tested out ideas and techniques which she then later incorporated into her novels. After Chekhov, they represent the most important development in the modern short story as a literary form. Incident and narrative are replaced by evocations of mood, poetic imagery, philosophic reflection, and subtleties of composition and structure. The shortest piece, ‘Monday or Tuesday’, is a one-page wonder of compression. This collection is a cornerstone of literary modernism. No other writer – with the possible exception of Nadine Gordimer, has taken the short story as a literary genre as far as this.
Virginia Woolf - Kew Gardens Buy the book at Amazon UK
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Virginia Woolf: BiographyVirginia Woolf is a readable and well illustrated biography by John Lehmann, who at one point worked as her assistant and business partner at the Hogarth Press. It is described by the blurb as ‘A critical biography of Virginia Woolf containing illustrations that are a record of the Bloomsbury Group and the literary and artistic world that surrounded a writer who is immensely popular today’. This is an attractive and very accessible introduction to the subject which has been very popular with readers ever since it was first published..
Virginia Woolf - A Biography Buy the book at Amazon UK
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Virginia Woolf – web links

Virginia Woolf at Mantex
Biographical notes, study guides to the major works, book reviews, studies of the short stories, bibliographies, web links, study resources.

Blogging Woolf
Book reviews, Bloomsbury related issues, links, study resources, news of conferences, exhibitions, and events, regularly updated.

Virginia Woolf at Wikipedia
Full biography, social background, interpretation of her work, fiction and non-fiction publications, photograph albumns, list of biographies, and external web links

Virginia Woolf at Gutenberg
Selected eTexts of her novels and stories in a variety of digital formats.

Woolf Online
An electronic edition and commentary on To the Lighthouse with notes on its composition, revisions, and printing – plus relevant extracts from the diaries, essays, and letters.

Hyper-Concordance to Virginia Woolf
Search texts of all the major novels and essays, word by word – locate quotations, references, and individual terms

Orlando – Sally Potter’s film archive
The text and film script, production notes, casting, locations, set designs, publicity photos, video clips, costume designs, and interviews.

Women’s History Walk in Bloomsbury
Tour of literary and political homes in Bloomsbury – including Gordon Square, Gower Street, Bedford Square, Tavistock Square, plus links to women’s history web sites.

Virginia Woolf Society of Great Britain
Bulletins of events, annual lectures, society publications, and extensive links to Woolf and Bloomsbury related web sites

BBC Audio Essay – A Eulogy to Words
Charming sound recording of radio talk given by Virginia Woolf in 1937 – a podcast accompanied by a slideshow of photographs.

A Family Photograph Albumn
Leslie Stephen compiled a photograph album and wrote an epistolary memoir, known as the “Mausoleum Book,” to mourn the death of his wife, Julia, in 1895 – an archive at Smith College – Massachusetts

Virginia Woolf – on video
Biographical studies and documentary videos with comments on Virginia Woolf and the Bloomsbury Group and the social background of their times.

Virginia Woolf Miscellany
An archive of academic journal essays 2003—2014, featuring news items, book reviews, and full length studies.

© Roy Johnson 2014


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Virginia Woolf – web links
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Filed Under: Short Stories, The Short Story, Virginia Woolf Tagged With: English literature, Literary studies, The Short Story, Virginia Woolf

The Complete Tales of Henry James

March 24, 2013 by Roy Johnson

tutorials, critical commentaries, and study guides

This is a series of tutorials and guidance notes on the complete tales of Henry James. He gave the stories the name ‘tales’ because hardly any of them are now what would be considered traditional short stories. Indeed, several of them are now regularly regarded as novellas. There are over one hundred tales in the complete collection. The series is shown here in alphabetical order.

The Tales of Henry James   A Bundle of Letters — (1879)
The Tales of Henry James   A Day of Days — (1866)
The Tales of Henry James   A Landscape Painter — (1866)
The Complete Tales of Henry James   A Light Man — (1869)
The Tales of Henry James   A London Life — (1888)
The Tales of Henry James   A Most Extraordinary Case — (1868)
The Tales of Henry James   A New England Winter — (1884)
The Tales of Henry James   A Passionate Pilgrim — (1871)
The Complete Tales of Henry James   A Problem — (1868)
The Complete Tales of Henry James   A Round of Visits — (1910)
The Tales of Henry James   A Tragedy of Error — (1864)
The Tales of Henry James   Adina — (1874)
The Tales of Henry James   An International Episode — (1874)
The Complete Tales of Henry James   At Isella — (1871)
The Tales of Henry James   Benvolio — (1875)
The Tales of Henry James   Broken Wings — (1900)
The Complete Tales of Henry James   Brooksmith — (1891)
The Complete Tales of Henry James   Collaboration — (1892)
The Tales of Henry James   Covering End — (1895)
The Tales of Henry James   Crapy Cornelia — (1909)
The Tales of Henry James   Crawford’s Consistency — (1876)
The Complete Tales of Henry James   Daisy Miller — (1878)
The Complete Tales of Henry James   De Grey: A Romance — (1868)
The Tales of Henry James   Eugene Pickering — (1874)
The Tales of Henry James   Europe — (1899)
The Tales of Henry James   Flickerbridge — (1902)
The Tales of Henry James   Fordham Castle — (1904)
The Tales of Henry James   Four Meetings — (1877)
The Complete Tales of Henry James   Gabrielle de Bergerac — (1869)
The Tales of Henry James   Georgina’s Reasons — (1884)
The Tales of Henry James   Glasses — (1896)
The Tales of Henry James   Greville Fane — (1892)
The Complete Tales of Henry James   Guest’s Confession — (1872)
The Complete Tales of Henry James   In the Cage — (1898)
The Complete Tales of Henry James   Jersey Villas — (1892)
The Complete Tales of Henry James   John Delavoy — (1898)
The Tales of Henry James   Julia Bride — (1908)
The Tales of Henry James   Lady Barbarina — (1884)
The Complete Tales of Henry James   Longstaff’s Marriage — (1878)
The Tales of Henry James   Lord Beaupre — (1892)
The Tales of Henry James   Louisa Pallant — (1888)
The Tales of Henry James   Madame de Mauves   — (1874)
The Tales of Henry James   Master Eustace   — (1871)
The Tales of Henry James   Maud-Evelyn   — (1900)
The Tales of Henry James   Miss Gunton of Poughkeepsie   — (1900)
The Complete Tales of Henry James   Mora Montravers   — (1909)
The Tales of Henry James   Mrs Medwin   — (1901)
The Tales of Henry James   Mrs Temperly   — (1887)
The Tales of Henry James   My Friend Bingham   — (1867)
The Tales of Henry James   Nona Vincent   — (1892)
The Tales of Henry James   Osborne’s Revenge   — (1868)
The Tales of Henry James   Owen Wingrave   — (1892)
The Tales of Henry James   Pandora   — (1884)
The Tales of Henry James   Paste   — (1899)
The Tales of Henry James   Poor Richard   — (1867)
The Tales of Henry James   Professor Fargo   — (1874)
The Tales of Henry James   Sir Edmund Orme   — (1891)
The Tales of Henry James   The Abasement of the Northmores   — (1900)
The Tales of Henry James   The Altar of the Dead   — (1895)
The Complete Tales of Henry James   The Aspern Papers   — (1888)
The Complete Tales of Henry James   The Author of Beltraffio   — (1884)
The Complete Tales of Henry James   The Beast in the Jungle   — (1903)
The Tales of Henry James   The Beldonald Holbein   — (1901)
The Tales of Henry James   The Bench of Desolation   — (1909)
The Tales of Henry James   The Birthplace   — (1903)
The Tales of Henry James   The Chaperon   — (1891)
The Tales of Henry James   The Coxon Fund   — (1894)
The Complete Tales of Henry James   The Death of the Lion   — (1894)
The Complete Tales of Henry James   The Diary of a Man of Fifty   — (1879)
The Complete Tales of Henry James   The Figure in the Carpet   — (1896)
The Complete Tales of Henry James   The Friends of the Friends   — (1896)
The Complete Tales of Henry James   The Ghostly Rental   — (1876)
The Complete Tales of Henry James   The Given Case   — (1899)
The Complete Tales of Henry James   The Great Condition   — (1899)
The Complete Tales of Henry James   The Great Good Place   — (1900)
The Complete Tales of Henry James   The Impressions of a Cousin   — (1883)
The Complete Tales of Henry James   The Jolly Corner   — (1908)
The Complete Tales of Henry James   The Last of the Valerii   — (1874)
The Complete Tales of Henry James   The Lesson of the Master   — (1888)
The Complete Tales of Henry James   The Liar   — (1888)
The Complete Tales of Henry James   The Madonna of the Future   — (1873)
The Complete Tales of Henry James   The Marriages   — (1891)
The Complete Tales of Henry James   The Middle Years   — (1893)
The Complete Tales of Henry James   The Next Time   — (1895)
The Complete Tales of Henry James   The Papers   — (1903)
The Complete Tales of Henry James   The Patagonia   — (1888)
The Complete Tales of Henry James   The Path of Duty   — (1884)
The Complete Tales of Henry James   The Pension Beaurepas   — (1879)
The Complete Tales of Henry James   The Point of View   — (1882)
The Complete Tales of Henry James   The Private Life   — (1892)
The Complete Tales of Henry James   The Pupil   — (1891)
The Complete Tales of Henry James   The Real Right Thing   — (1899)
The Complete Tales of Henry James   The Real Thing   — (1892)
The Complete Tales of Henry James   The Romance of Certain Old Clothes   — (1868)
The Complete Tales of Henry James   The Siege of London   — (1883)
The Complete Tales of Henry James   The Solution   — (1889)
The Tales of Henry James   The Special Type   — (1900)
The Tales of Henry James   The Story in It   — (1902)
The Tales of Henry James   The Story of a Masterpiece   — (1868)
The Tales of Henry James   The Story of a Year   — (1865)
The Tales of Henry James   The Sweetheart of M. Briseux   — (1873)
The Tales of Henry James   The Third Person   — (1900)
The Tales of Henry James   The Tone of Time   — (1900)
The Tales of Henry James   The Tree of Knowledge   — (1900)
The Tales of Henry James   The Turn of the Screw   — (1898)
The Tales of Henry James   The Two Faces   — (1900)
The Tales of Henry James   The Velvet Glove   — (1909)
The Tales of Henry James   The Visits   — (1892)
The Tales of Henry James   The Wheel of Time   — (1892)
The Tales of Henry James   Theodolinde   — (1878)
The Tales of Henry James   Travelling Companions   — (1870)
The Tales of Henry James   Two Countries   — (1888)


Other works by Henry James

Henry James Washington SquareWashington Square (1880) is a superb early short novel, It’s the tale of a young girl whose future happiness is being controlled by her strict authoritarian (but rather witty) father. She is rather reserved, but has a handsome young suitor. However, her father disapproves of him, seeing him as an opportunist and a fortune hunter. There is a battle of wills – all conducted within the confines of their elegant New York town house. Who wins out in the end? You will probably be surprised by the outcome. This is a masterpiece of social commentary, offering a sensitive picture of a young woman’s life.
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Henry James The Aspern PapersThe Aspern Papers (1888) is a psychological drama set in Venice which centres on the tussle for control of a great writer’s correspondence. An elderly lady, ex-lover of the writer, seeks a husband for her daughter. But the potential purchaser of the papers is a dedicated bachelor. Money is also at stake – but of course not discussed overtly. There is a refined battle of wills between them. Who will win in the end? As usual, James keeps the reader guessing. The novella is a masterpiece of subtle narration, with an ironic twist in its outcome. This collection of stories also includes three of his accomplished long short stories – The Private Life, The Middle Years, and The Death of the Lion.
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Henry James The Spoils of PoyntonThe Spoils of Poynton (1896) is a short novel which centres on the contents of a country house, and the question of who is the most desirable person to inherit it via marriage. The owner Mrs Gereth is being forced to leave her home to make way for her son and his greedy and uncultured fiancee. Mrs Gereth develops a subtle plan to take as many of the house’s priceless furnishings with her as possible. But things do not go quite according to plan. There are some very witty social ironies, and a contest of wills which matches nouveau-riche greed against high principles. There’s also a spectacular finale in which nobody wins out.
Henry James The Spoils of Poynton Buy the book from Amazon UK
Henry James The Spoils of Poynton Buy the book from Amazon US

© Roy Johnson 2013


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The Complete Tales of Joseph Conrad

November 24, 2014 by Roy Johnson

The Complete Tales of Joseph Conrad is a series of tutorials and guidance notes on all the shorter fiction of Joseph Conrad. The stories are commonly given the name ‘tales’ or ‘shorter fiction’ because hardly any of them are now what would be considered traditional short stories. Some of them were originally published as serials in magazines, as was common with novels at the end of the nineteenth century. Indeed, one or two (such as The Secret Sharer and The Shadow Line) are now commonly regarded as novellas. The series is shown here in alphabetical order.

The Complete Tales of Joseph Conrad   A Smile of Fortune — (1911)
The Complete Tales of Joseph Conrad   Amy Foster — (1901)
The Complete Tales of Joseph Conrad   An Anarchist — (1906)
The Complete Tales of Joseph Conrad   An Outpost of Progress — (1897)
The Complete Tales of Joseph Conrad   Because of the Dollars — (1915)
The Tales of Joseph Conrad   Falk: A Reminiscence — (1903)
The Tales of Joseph Conrad   Freya of the Seven Isles — (1912)
The Tales of Joseph Conrad   Gaspar Ruiz — (1906)
The Tales of Joseph Conrad   Il Conde — (1908)
The Tales of Joseph Conrad   Karain: A Memory — (1897)
The Tales of Joseph Conrad   Prince Roman — (1911)
The Tales of Joseph Conrad   The Black Mate — (1908)
The Tales of Joseph Conrad   The Brute — (1906)
The Tales of Joseph Conrad   The Duel — (1908)
The Tales of Joseph Conrad   The End of the Tether — (1902)
The Tales of Joseph Conrad   The Idiots — (1896)
The Tales of Joseph Conrad   The Informer — (1906)
The Tales of Joseph Conrad   The Inn of the Two Witches — (1915)
The Tales of Joseph Conrad   The Lagoon — (1897)
The Tales of Joseph Conrad   The Partner — (1915)
The Tales of Joseph Conrad   The Planter of Malata — (1915)
The Tales of Joseph Conrad   The Return — (1898)
The Tales of Joseph Conrad   The Secret Sharer — (1910)
The Tales of Joseph Conrad   The Shadow Line — (1917)
The Tales of Joseph Conrad   The Tale — (1917)
The Tales of Joseph Conrad   The Warrior’s Soul — (1917)
The Tales of Joseph Conrad   To-Morrow — (1902)
The Tales of Joseph Conrad   Typhoon — (1902)
The Tales of Joseph Conrad   Youth — (1898)


Joseph Conrad web links

Joseph Conrad at Mantex
Biography, tutorials, book reviews, study guides, videos, web links.

Joseph Conrad – his greatest novels and novellas
Brief notes introducing his major works in recommended editions.

Joseph Conrad at Project Gutenberg
A major collection of free eTexts in a variety of formats.

Joseph Conrad at Wikipedia
Biography, major works, literary career, style, politics, and further reading.

Joseph Conrad at the Internet Movie Database
Adaptations for the cinema and television – in various languages. Full details of directors and actors, production notes, box office, trivia, and quizzes.

Works by Joseph Conrad
Large online database of free HTML texts, digital scans, and eText versions of novels, stories, and occasional writings.

The Joseph Conrad Society (UK)
Conradian journal, reviews. and scholarly resources.

The Joseph Conrad Society of America
American-based – recent publications, journal, awards, conferences.

Hyper-Concordance of Conrad’s works
Locate a word or phrase – in the context of the novel or story.

© Roy Johnson 2015


More on Joseph Conrad
Twentieth century literature
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Filed Under: Joseph Conrad, Short Stories, The Short Story Tagged With: English literature, Joseph Conrad, Literary studies, The Short Story

The Illustrious Gaudissart

July 2, 2018 by Roy Johnson

tutorial, study guide, plot summary, study resources

The Illustrious Gaudissart (1833) features a character who will crop up in a number of Balzac’s later novels – Scenes from the Life of a Courtesan (1838-1846), Cesar Birotteau (1837), and Cousin Pons (1846-1847). Gaudissart goes on later to become the owner of a theatre, but is here put forward as the epitome of the travelling salesman.

The Illustrious Gaudissart


The Illustrious Gaudissart – commentary

The story offers a wonderful example of Balzac as a satirical, ironic sociologist. He astutely identifies a new social type and pours mockery onto him as a vulgar parvenu, a man who (to quote Oscar Wilde) ‘knows
the price of everything and the value of nothing’.

The first part of the story is a detailed analysis of everything Balzac sees as meretricious and shoddy in this ‘hail fellow, well met’ type with his jokes, his sales patter, and his lack of social or ethical depth.

Balzac was a staunch conservative, royalist, and Catholic. He sees this new style of seedy entrepreneur as an example of the declining civic values following the revolution. Yet Balzac was himself an ambitious and hard-working provincial – with social aspirations. He cannot but partly admire Gaudissart’s persistence and enterprise – peddling newspaper subscriptions and life insurance policies, plus selling hats and the ‘article Paris‘ at the same time.

He takes from the luminous centre a handful of light, and scatters it broadcast among the drowsy populations of the duller regions. This human pyrotechnic is a scholar without learning, a juggler hoaxed by himself, an unbelieving priest of mysteries and dogmas, which he expounds the better for his want of faith. Curious being! He has seen everything, known everything, and is up in all the ways of the world.

The story is essentially an episode in which this vain, boastful, and over-confident con man is duped by wily provincials. The narrative peters out with a rather farcical conclusion, but leaves behind an interesting study in ‘enterprise’ which sits comfortably within the grand scheme of La Comedie Humaine.

Gaudissart II

In a later story by this title, published in 1846, the name Gaudissart is used as a generic term to describe all cunning salesmen. The story centres on a fashionable Parisian store in which the manager sells an Englishwoman an expensive shawl. He does so by a mixture of subtle sales techniques, psychological insight, flattery, and boastfulness mixed with a dash of sharp practice. Balzac sees this example of ‘Gaudissart’ as a social force.


The Illustrious Gaudissart – study resources

The Human Comedy – NYRB Classics – Amazon UK

The Human Comedy – NYRB Classics – Amazon US

Cousin Pons – Penguin Classics – Amazon UK

Cousin Pons – Penguin Classics – Amazon US

All characters in La Comedie Humaine

Cambridge Companion to Balzac – Cambridge UP – Amazon UK

The Illustrious Gaudissart


The Illustrious Gaudissart – plot summary

Ch.I   The commercial traveller as a new social type. He moves between the city and the provinces but belongs to neither. His task is to extract commissions by persuasion. Gaudissart is a successful example who is living in Paris in semi-retirement – all things to all men. He is approached to sell life insurance, and thinks to promote newspaper subscriptions at the same time – to both a Monarchist and a republican publication.

Ch.II   Gaudissart promises to bring home wealth to his mistress Jenny Courand. He also plans to sell subscriptions to a children’s newspaper – and he nurtures secret political ambitions. He writes Jenny a letter from the provinces, boasting of his commercial success.

Ch.III   He arrives in Tours, a city which prides itself on hard-headed realism. When Gaudissart tries his vague salesmanship on M. Vernier, the Tourangian as a joke steers him towards Margaritis, the local lunatic, pretending that he is a banker.

Ch.IV   Gaudissart tries to sell life insurance to Margaritis, who in his turn tries to sell wine (which he doesn’t have) to Gaudissart. In the end Gaudissart buys the wine, and Margaritis buys subscriptions to the children’s newspaper.

Ch.V Gaudissart discovers that he has been duped and complains to Vernier. The two men quarrel and a duel is arranged. It turns out to be a farce, with Vernier shooting a cow in a nearby field. They call a truce, and Vernier takes out twenty subscriptions to the children’s newspaper. Gaudissart later brags about killing a man in a duel.


The Illustrious Gaudissart – characters
Felix Gaudissart a 38 year old boastful travelling salesman
Jenny Courand Gaudissart’s mistress in Paris, a florist
Vernier a retired dyer in Tours
Margaritis a lunatic in Tours who thinks he owns vineyards

© Roy Johnson 2018


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The Obelisk – short stories

March 8, 2010 by Roy Johnson

tales from E.M.Forster’s reserve collection

The Obelisk is a collection of stories taken from The Life to Come (1972), works not published during Forster’s lifetime, which ended in 1970, not long after the famous trials of Lady Chatterley’s Lover and Last Exit to Brooklyn. One reason is that they all deal quite explicitly with homo-erotic topics which would not have been tolerated in print before 1970. The other reason might be that they fall so far below the artistic standards of his other work.

The ObeliskSome are mild satires of middle-class snobbery and hypocrisy set in a slightly indeterminate era which might be Edwardian or Georgian at the beginning of the last century. Others are satires of Biblical and mythical subjects treated in a manner which is supposed to be amusing, but which conjure up an embarrassing attitude poised somewhere midway between lyricism and schoolboy smuttiness. If these stories belonged to Forster’s desk drawer, there might be some good arguments for having left them there.

In the title story a conventional married couple meet two slightly dubious sailors on a day out. The wife enjoys a snatched liaison with one of them, but then is shocked to discover that her husband might have done the same thing with the other.

A missionary converts a local chieftain by succumbing to his sexual advances, then feels guilty for doing so. The two men grow apart and marry, but when the chieftain is about to die there appears to be an emotional reconciliation. What actually happens is a tragedy of Imperialism.

In another story, an old country squire who is dying imagines that he is still desirable to a young man working on his estate as a hired labourer. The story is related in a lyrical, quasi-poetical manner, but it reads as a rather unconvincing piece of homo-erotic wishful thinking on the part of an older man.

Similarly, in the unfortunately titled ‘Arthur Snatchfold’ a sexual encounter between a young workman and a rich industrialist is the occasion for a critique of society’s punitive attitude to gay men, and another improbable piece of ill-sublimated wish-fulfilment about older men being sexually desirable to male youths.

Almost all these stories have in common sexual encounters between an older man from the upper echelons of society and a much younger man from the lower. It very difficult to escape the suspicion that Forster was writing these stories late in life as therapeutic exercises.

‘What does it matter?’ is a silly tale set in a Gilbert and Sullivan Ruritania-like country whose president is caught in flagrante with a handsome young guardsman. Some of the other pieces are not much more than extended jokes, using classical mythology and even religion as a vehicle for nudge-nudge remarks about fig leaved statues and well-endowed young boys.

The best story in the collection – ‘The Other Boat’ – is the only serious attempt to explore both the gay and the Imperial theme. A young British officer becomes entangled in a shipboard dalliance with his Anglo-Indian cabin mate. The forbidden passion ends in murder and suicide, but at least their relationship is explored in some depth

We know that Forster stopped writing fiction after A Passage to India because he could no longer believe in creating credible heterosexual relationships, and of course at the time it was not possible to publish fiction which was explicitly homosexual. But this leaves us with something of a conundrum, because the homosexual relationships Forster did manage to write about (even if he did not publish them) are far less credible than the heterosexual ones which were a product of his creative imagination.

So this collection The Obelisk acts as a salutary tale to those who believe that authors can only write well on subjects known from personal experience. And it also supplies evidence that even distinguished writers sometimes produce work which is well below their normal standards, even when writing on topics which are close to their hearts.

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© Roy Johnson 2010


E.M.Forster The Obelisk, London: Hesperus Press, 2009, pp.169, ISBN: 1843914360


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The Piazza Tales

August 3, 2011 by Roy Johnson

classic short stories, tales, and novellas

Piazza Tales is a collection of herman Melville’s shorter fiction. He started writing short stories as a desperate commercial venture to provide for his family, following the disastrous reception of Moby Dick on its first publication in 1851. His career as a writer had been in something of a steady decline from the start, and yet as he became less and less successful, he produced the works for which he is now held in the very highest regard – as a great artist who could tap into the fundamentals of the American nineteenth century psyche.

The Piazza TalesHis stories are clouded in ambiguity and steeped in multiple levels of complexity. They have narrators whose intentions are not clear.They are often stories with very little narrative in the normal sense of that term. ‘A Paradise of Bachelors’ is little more than an account of a lavish dinner party in London’s Inns of court related in mock-heroic terms. Its companion piece ‘The Tartarus of Maids’ is the report of a visit to a paper mill.

The narrator of ‘Cock-A-Doodle-Doo!’ is shaken out of a misanthropic mood by the cheerful crowing of a neighbour’s cockerel. But when he eventually decides to buy the bird for its life-affirming powers, its owner dies – and so does the bird.

‘Bartelby the Scrivener’, one of his most famous stories, is startling in its simplicity. An elderly Wall Street solicitor employs a younger man as a clerk to copy legal documents. Bartelby works in complete isolation, and lives on nothing but ginger biscuits, sleeping in the office. But then he stops working, meeting every request to do so with the mantra “I prefer not to”. The solicitor is driven to good-natured despair, and finally has to move office in order to be rid of him. Bartelby is eventually placed in prison where he starves himself – and dies.

Melville’s prose is so allusive, so embedded with metaphors and symbols that it often seems that whilst writing about one thing he is actually talking about another. In ‘I and My Chimney’ for instance a man has a house with an enormous chimney. He takes laboured and curmudgeonly pride in the way it dominates the architecture of the entire building. But his wife, who restlessly devises new schemes for ‘improvement’, wants it pulled down. A struggle takes place between them, which he wins by stubbornly refusing to change his views.

It’s impossible to escape the interpretation that the chimney (and the house itself) represents the narrator’s (and the author’s) psyche, over which he wishes to assert his autonomy. And you don’t need a brass plaque on your front door to realise that it is also a commanding phallic symbol.

This collection includes two of Melville’s most accessible masterpieces. Benito Cereno is his re-telling of a historical incident involving a revolt on board a Spanish slave ship. The tale (a novella) is a study in sustained irony of the most chilling kind. Melville tells the story backwards by describing events as perceived by one ship’s captain when he goes to help the other. Everything he sees is menacing and inexplicable. Only when a disaster is narrowly averted is the reason for and the true horror of these mysterious conditions revealed.

The second novella is Billy Budd another apparently simple story with a naval setting. Billy Budd is a popular young sailor who is impressed into service on a British warship. His good looks and his naivety become the focus of malevolent attention from the ship’s master-at-arms, who falsely reports him to the captain for plotting a mutiny.

When confronted with this accusation, Billy becomes tongue-tied and strikes the master-at-arms with a blow that kills him. The captain is very sympathetic to Billy, but feels compelled to uphold the absolute code of military discipline. Billy is condemned to death and hanged the next morning.

This is a tale that has been interpreted in many ways – the most popular of which is Billy as Adam, fallen from paradise and grace into a cruel world. Claggart, the master-at-arms is seen as the devil or serpent – the embodiment of evil. And the ship’s captain, Vere, as a God-like figure, torn between paternal love and the need to exert justice.

Three of these stories have become landmarks of nineteenth century American literature. All of them are worth reading – and there is an added bonus, Melville has an amazingly rich prose style which combines a rich vocabulary, a slightly archaic form of syntax, and an amazingly flexible narrative voice in which he thinks out loud, talks to his characters, asks himself questions, and speculates freely about the very stories he is telling.

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© Roy Johnson 2010


Herman Melville, Billy Budd, Sailor and Selected Tales, Oxford: Oxford University Press, 2009, pp.410, ISBN: 0199538913


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The Short Story – essential works

September 21, 2009 by Roy Johnson

tutorial and guide to important texts

The short story is as old as the earliest tale-telling. Many longer narratives such as epics and myths (such as the Bible) contain short episodes which can be extracted as stories. But as a distinct literary genre, the short story came into its own during the early nineteenth century. Many writers have created successful short stories – but those which follow are the prose artists who have had most influence on its development in terms of form. We will be adding more guidance notes and examples as time goes on.


Tales of Mystery & Imagination Edgar Allen Poe is famous for his Tales of Mystery and Imagination. These are tight, beautifully crafted exercises in plot, suspense, psychological drama, and sheer horror. He also invented the detective story. This is the birth of the modern short story. Poe was writing for magazines and journals. He has a spectacularly florid style, and his settings of dungeons and crumbling houses come straight out of the Gothic tradition. He’s most famous for stories such as ‘The Pit and the Pendulum’, ‘The Black Cat’, and ‘The Fall of the House of Usher’ which vividly dramatise extreme states of psychological terror, anxiety, and what we would now call existential threat. He also theorised about the story, claiming that every part should be contributing to the whole, and the story should be short enough to read at one sitting. This edition is good because it includes the best of the stories, plus some essays and reviews. An ideal starting point.
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How short is short?

There is no fixed length for a short story. Readers generally expect a character, an event of some kind, and a sense of resolution. But Virginia Woolf got most of this in to one page in her experimental short story Monday or Tuesday. There are also ‘abrupt fictions’ of a paragraph or two – but these tend to be not much more than anecdotes.

There’s an often recounted anecdote regarding a competition for the shortest possible short story. It was won by Ernest Hemingway with an entry of one sentence in six words: “For sale: baby shoes, never worn.”

There are also quite long stories – such as those written by Henry James. If the narrative sticks to one character and one issue or episode, they remain stories. If they stray into greater degrees of complexity and develop expanded themes and dense structure – then they often become novellas. Examples of these include Herman Melville’s Billy Budd, Joseph Conrad’s Heart of Darkness and Thomas Mann’s Death in Venice.


Hawthorne stories Nathaniel Hawthorne produced stories that are beautifully crafted studies in symbolism, moral ambiguity, and metaphors of the American psyche. His tales are full of characters oppressed by consciousness of sin, guilt, and retribution. They explore the traditions and the consequences of the Puritanism Europe exported to America. Young Goodman Brown and Other Stories in the Oxford University Press edition presents twenty of Hawthorne’s best tales. It’s the first in paperback to offer his most important short works with full annotation in one volume.
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A Day in the Country Guy de Maupassant brought the subject matter of the story down to an everyday level which shocked readers at the time – and can still do so now. He also began to downgrade the element of plot and suspense in favour of character revelation. He was a relative of Flaubert, a novelist manqué, and bon viveur who died at forty-three of syphilis in a madhouse. Nevertheless he left behind him an oeuvre of more than 300 stories. His tone is objective, detached, and often deeply ironic; and he is celebrated for the exactness and accuracy of his observations, and the balance and precision of his style. Although most of his stories appear at first to be nothing more than brief and rather transparent anecdotes, the best succeed in giving impressionistic but truthful insights into the hidden lives of people caught amidst the trials of everyday existence.
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Short Story Charles E. May, The Short Story: the reality of artifice, London: Routledge, 2002, pp.160, ISBN 041593883X. This is a study of the development of the short story as a literary genre – from its origins to the present day. It takes in most of the major figures – Poe, Hawthorn, James, Conrad, Hemingway, Borges, and Cheever. There’s also a very useful chronology, giving dates of significant publications, full notes and references. and annotated suggestions for further reading. Despite the obvious US weighting here, for anyone who needs an overview of the short story and an insight into how stories are analysed as part of undergraduate studies, this is an excellent place to start.
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Katherine Mansfield short storiesKatherine Mansfield is one of the few major writers who worked entirely within the short story form. Her finest work is available in just one volume. She followed Chekhov in paring down the dramatic element of the short story to a minimum, whilst raising its level of subtlety and psychological insight to new heights. Every smallest detail within her stories is carefully chosen to complete a pattern which the whole tale symbolises. She was also an early feminist in presenting many of her stories from a convincingly radical point of view. In this she was rather like her friend and contemporary, Virginia Woolf with whom she discussed the new literary techniques they were both developing at the same time. Unfortunately, Katherine Mansfield died at only thirty-five when she was at the height of her powers.
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James Joyce - Dubliners - book jacket James Joyce published Dubliners in 1916 and established himself immediately as a great writer. This has been an enormously influential collection which helped to establish the form of the modern short story. These are studies of Dublin life and characters written in a stark, pared-down style. Most of the characters and scenes are mean and petty – sometimes even tragic. Joyce had difficulty finding a publisher for this his first book, and it did not appear until many years after it had been written. It was severely attacked because the names of actual persons and places in Dublin are mentioned in it. Several of the characters introduced in Dubliners eventually reappear in his great novel Ulysses. In terms of literary technique, Joyce is best known for his use of the ‘epiphany’ – the revealing moment or experience used as a focal point for the purpose of the story.
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The Whiplash Ending

It used to be thought that the ‘point’ of a short story was best held back until the last paragraph. The idea was that the reader was being entertained – and then suddenly surprised by a revelation or an unexpected reversal or twist. O. Henry popularised this device in the US. However, most serious modern writers after Chekhov came to think that this was rather a cheap strategy. They proposed instead the relatively eventless story which presents a situation that unfolds itself to the reader for contemplation.


Virginia Woolf stories Virginia Woolf took the short story as it had come to be developed post-Chekhov, and with it she blended the prose poem, poetic meditations, and the plotless event. Her finest achievements in this form – Kew Gardens, Sunday or Monday, and The Lady in the Looking-glass‘ – create new linguistic worlds without the prop of a story line. These offer a poetic evocation of life and meditations on time, memory, and death. This edition contains all the classic short stories such as The Mark on the Wall, A Haunted House, and The String Quartet – but also the shorter fragments and experimental pieces such as Mrs Dalloway in Bond Street. These ‘sketches’ (as she called them) were used to practice the techniques she used in her longer fictions. Nearly fifty pieces written over the course of Woolf’s writing career are arranged chronologically to offer insights into her development as a writer. This is well presented and edited in a scholarly manner by Susan Dick.
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Metamorphosis Franz Kafka created stories and ‘fragments’ (as he called them) which are a strange, often nightmarish mixture of tale and philosophic meditation. Start with Metamorphosis – the account of a young salesman who wakes up to find he has been transformed into a giant insect. This particular collection also includes Kafka’s first publication – a slim volume of what he called ‘Meditations’ – as well as the forty-page ‘Letter to his Father’. It also contains the story in which he predicted the horrors of the concentration camps – ‘In the Penal Colony’. Kafka is famous for having anticipated in his work many of the modern states of psychological angst, alienation, and existential terror which became commonplace later in the century.
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Epiphanies and Moments

James Joyce’s contribution to the short story was a device he called the ‘epiphany’. Following Guy de Maupassant and Chekhov, he wrote the series of stories Dubliners which were pared down in terms of literary style and focussed their effect on a revelation. A sudden remark, a symbol, or moment epitomises and clarifies the meaning of a complex experience. This usually comes at the end of the story – either for the character in the story or for the reader. Katherine Mansfield and Virginia Woolf followed a similar route of playing down action and events in favour of dramatising insights into character and states of mind. Woolf called these ‘moments of being’.


Jorge Luis Borges - The Total Library Jorge Luis Borges like Katherine Mansfield, only wrote short stories. He was an Argentinian, much influenced by English Literature. His tales manage to combine literary playfulness and a rich style with strange explorations of mind-bending ideas. He is credited as one of the fathers of magical realism, which is one feature of Latin-American literature which has spread worldwide since the 1960s. His stories often start in a concrete, realistic world then gradually slide into strange dreamlike states and end up leaving you to wonder where on earth you are, and how you got there. Funes, the Memorious explores the idea of a man who cannot forget anything; The Garden of Forking Paths is a marvellous double-take on the detective story; and Tlon, Uqbar, Orbis Tertius is a pseudo-essay concerning encyclopedia entries of an imaginary world – which begin to invade and multiply within our own. He also wrote some rather amusing literary spoofs, which are collected in this edition.
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Ernest Hemingway trained as a newspaper reporter and began writing short stories in the post-Chekhov period, consciously influenced by his admiration for the Russian novelist Turgenev. He is celebrated for his terseness and understatement – a sort of literary tough-guy style which was much imitated at one time His persistent themes are physical and moral courage, stoicism, and what he called ‘grace under pressure’. Because his stories are so pared to the bone, free of all superfluous decoration, and so reliant on the closely observed detail, they fit well within the modernist style. He once won a bet that he could write a short story in six words. The result was – ‘For sale: baby shoes. Never worn.’ His reputation as a novelist has plummeted recently, but his stories are still worth reading.
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John Cheever is a story writer in the smooth and sophisticated New Yorker school. His writing is urbane, thoughtful, and his social details well observed. What he writes about are the small moments of enlightenment which lie waiting in everyday life, as well as the smouldering vices which lurk beneath the polite surface of suburban America. This is no doubt a reflection of Cheever’s own experience. For many years as a successful writer and family man he was also an alcoholic and led a secret double life as a homosexual. His main themes include the duality of human nature: sometimes dramatized as the disparity between a character’s decorous social persona and inner corruption. His is a literary approach which has given rise to many imitators, perhaps the best known of whom is Anne Tyler. He’s sometimes called ‘the Checkhov of the suburbs’.

Nadine GordimerNadine Gordimer is one of the few modern writers who have developed the short story as a literary genre beyond what Virginia Woolf pushed it to in the early modernist phase. She starts off in modern post-Chekhovian mode presenting situations which have little drama but which invite the reader to contemplate states of being or moods which illustrate the ideologies of South Africa. Technically, she experiments heavily with point of view, narrative perspective, unexplained incidents, switches between internal monologue and third person narrative and a heavy use of ‘as if’ prose where narrator-author boundaries become very blurred. Some of her stories became more lyrical, more compacted and symbolic, abandoning any semblance of conventional story or plot in favour of a poetic meditation on a theme. All of this can make enormous demands upon the reader. Sometimes, on first reading, it’s even hard to know what is going on. But gradually a densely concentrated image or an idea will emerge – the equivalent of a Joycean ‘epiphany’ – and everything falls into place. Her own collection of Selected Stories are UK National Curriculum recommended reading.
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© Roy Johnson 2004


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Filed Under: 19C Literature, 20C Literature, Literary studies, Short Stories, The Short Story Tagged With: Edgar Allen Poe, English literature, Ernest Hemingway, Franz Kafka, Guy de Maupassant, James Joyce, John Cheever, Jorge Luis Borges, Katherine Mansfield, Literary studies, Nadine Gordimer, Nathaniel Hawthorne, The Short Story, Virginia Woolf

The Short Story an Introduction

August 11, 2009 by Roy Johnson

wide-ranging survey of story types and subjects

The structure of this introductory study of the short story as a literary genre is twenty short chapters, each one dealing with a different theme – character, orality, modernism, minimalism, urbanity, and so on. And each theme is explored with reference to three or four short stories considered in some depth. The advantage of this approach is that Paul March-Russell covers many neglected aspects of the short story: why it has declined commercially; how its reputation is propped up by university creative writing courses; and what has been the role of the little magazine in keeping it alive.

The Short Story an introductionThe disadvantage is that sometimes it seems as if everything is being skimmed over in a rather superficial manner. The other strength which is also a weakness is the sheer range of his examples – which is obviously the result of very wide reading.

He cover a huge variety of writers from America and Europe across the nineteenth and twentieth centuries and beyond. The names stream off the page at a bewildering rate. I suspect that this will inspire many young would-be writers to read more widely – which is the good part. But I sometimes wished he would dwell longer and explore fewer writers in more depth.

He also has the odd habit of mixing historical periods and writers without any restraint. Even his conglomerations of examples – J.P.Hebel, Rudyard Kipling, and Edgar Alan Poe – are bizarrely listed out of chronological order.

He considers all the possible variants of the short story – the parable, fable, folk tale, creation myth, and what he calls the ‘art tale’ – the conscious literary contrivance which he claims bridges the gap between the folk tale and the modern short story.

He also deals with the riddle as a sub-genre of the short story – one thing described as if it were something else, as if two non-identical things were the same. But I think he’s mistaken to include the novella as if it merely a long story.

As one chapter follows relentlessly after another – post modernism, minimalism, post colonialism – it becomes apparent that he is cataloguing his reading experience by its subject matter or the literary fashion to which authors have been ascribed. This impression is reinforced by the fact that there is no summarising chapter. He does not draw any general conclusions or produce any synthesis of his arguments.

In later parts of the book his themes – the city, the individual character – are examined with reference to novels and novellas, as well as stories, in a way which seems to confirm that he is more concerned with making use of his undoubtedly wide reading experience, rather than concentrating on the subject in hand – the short story.

This is a book with almost too much substance for its own good – too many illustrative examples – and too little concise argument. [I suspect it’s a re-vamped PhD thesis.] But if it leads readers on to further explorations of the neglected short story as a literary genre, that would be no bad thing.

One of his best chapters challenges the orthodoxy of Edgar Alan Poe’s theory of the short story (that it should be tightly focussed on unity of effect) and he even offers a defense of the much criticised O. Henry. There’s also an interesting chapter on the state of the short story in the UK today- which might well give aspirant writers pause for thought.

The good thing about these disparate reflections is that they do throw up many interesting topics which literary studies students can take further. As an introductory study, it fulfills that function well.

© Roy Johnson 2009

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Paul March-Russell, The Short Story: An Introduction, Edinburgh: Edinburgh University Press, 2009, pp.291, ISBN: 074862774X


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