The Cambridge Introduction to the American Short Story

Abstract

This wide-ranging introduction to the short story tradition in the United States of America traces the genre from its beginnings in the early nineteenth century with Irving, Hawthorne and Poe via Fitzgerald, Hemingway and Faulkner to O'Connor and Carver. The major writers in the genre are covered in depth with a general view of their work and detailed discussion of a number of examples of individual stories. The Cambridge Introduction to the American Short Story offers a comprehensive and accessible guide to this rich literary tradition. It will be invaluable to students and readers looking for critical approaches to the short story and wishing to deepen their understanding of how authors have approached and developed this fascinating and challenging genre. Further reading suggestions are included to explore the subject in more depth. This is an invaluable overview for all students and readers of American fiction.

Decolonizing the curricula of an English teacher preparation program: An exploration of U.S. short stories in the Global South

“…In the 19th century, the SS genre emerged in the U.S. as a distinct literary form, separating itself from the British colonial influence (Pratt, 1981). Led by Edgar Allan Poe, this genre thrived in the context of a new democracy (Scofield, 2006) and became a “new art form” that reflected the evolving cultural mosaic of U.S. society (O'Connor, 1968). In the early 20th century, the SS gained popularity through the works of renowned U.S. writers like Hemingway, Faulkner, and Fitzgerald (May, 2002).…”

A poética do conto em Poe e Tchékhov: uma revisão de conceitos

“…Reverberações dos projetos estéticos de Poe e Tchékhov podem ser verificadas também na crítica literária -cf. as reflexões de Martin Scofield (2006) e Radislav Lapushin (2010) -, que mesmo no século XXI não tem deixado de recorrer às proposições dos dois autores em suas apreciações sobre o processo de composição do conto.…”

The Classic Short Story, 1870-1925: Theory of a Genre

“…38 Although he sees real psychological interest in James's stories (pp. 86-87), Scofield (2006) says of Julia Bride: "Its subject is slight but intense (Julia Bride's situation is complex but she is not a morally complex heroine)" (p. 82). 39 As the character in Broken Wings exclaims: "We're simply the case" (here: "of having been had enough of").…”