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Browsing named entities in a specific section of Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). Search the whole document.

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Oakland (California, United States) (search for this): chapter 2.19
preferring a Hawthorne-like seclusion among books to playground activities among boys of his own age. From his childhood he was predisposed to literature; he dreamed over it, and he began to make poems even in his early school days. His removal to California at the age of fifteen, five years after the first gold rush, came from no initiative of his. To the delicate youth dreaming over his books it was an exile at the barbarous ends of the world. For a time he lived at his mother's home at Oakland—after a nine years widowhood she had married again—and then half heartedly he began to support himself as a school teacher, as a private tutor, as a druggist's clerk, and later as a type-setter on a rural newspaper. There is little doubt that for a time he saw something of mining life during a visit to Humboldt County, but the experience was brief. He had no taste for the rough life of the border. The greater part of his seventeen years in California he spent in San Francisco, first as t
New England (United States) (search for this): chapter 2.19
Atlantic. Born in Connecticut—the heart of New England, a school teacher with experience in countrnot romances; they were homely fragments of New England rural life. The heroine may be introducedeader not only of the group of depicters of New England life, but of the whole later school of makem. It had done away with the boundaries of New England, of the South, of New York, of the West. Tthe story. Rose Terry Cooke had written of New England; Miss Jewett wrote of Deephaven, which was a quivering bit of human life, a section of New England, a tale as true as a soul's record of yeste Stuart Phelps; Huckleberries gathered from New England Hills, Rose Terry Cooke; Iduna, and other s with the Maupassant-like pictures of later New England conditions by Mary E. Wilkins Freeman, in A Humble Romance (1887) and A New England Nun (1891). If the florid, sentimental school of the mid-cort story art. Within their limited field A New England Nun and Main-Travelled Roads may not be sur[1 more...]
Tennessee (Tennessee, United States) (search for this): chapter 2.19
ver and over for years he repeated its characters and backgrounds in stories of California life. If he is to endure it will be on account of the title story, or Tennessee's partner, or The Outcasts of Poker flat. Like James, Harte was a conscious artist, a workman who had served a careful apprenticeship. His stories are models His little story Marjorie Daw was published in the Atlantic five years after Harte's sensational debut. A trivial thing it was compared with such tragedies as Tennessee's partner or Madame Delphine, an American humorous anecdote elaborately expanded, with a point at the end to be followed by laughter, yet its appearance marked arte and Charles Egbert Craddock and most of the others attempted novels and failed. One may make a moving drama of the culminating moment in Mother Shipton's or Tennessee's life, but a complete novel written about either of them would be only a succession of picaresque adventures. The short story was peculiarly the vehicle for re
California (California, United States) (search for this): chapter 2.19
it, and he began to make poems even in his early school days. His removal to California at the age of fifteen, five years after the first gold rush, came from no inifor the rough life of the border. The greater part of his seventeen years in California he spent in San Francisco, first as type-setter, then as editor in various neing the decade following the war, and, moreover, it could have come only from California. The story was woven of four strands: first, there was the Dickens sentimer and over for years he repeated its characters and backgrounds in stories of California life. If he is to endure it will be on account of the title story, or Tennes the impression that they represent the ordinary course of life everywhere in California during a period is in reality a violation of the truth. The stories are unnaf the brilliant satirical fables Cobwebs from an empty Skull in 1874, then in California again as editor of The Argonaut and The Wasp, and finally a resident of Washi
Arkansas (Arkansas, United States) (search for this): chapter 2.19
und bonanza. Eagerly the public read of the picturesque conditions that had evolved from the California rush of '49; it wondered at the new world that Mark Twain revealed in his Jumping frog of Calaveras County, and that Cable opened in old Creole New Orleans, and at the grotesque Hoosier types revealed by Eggleston; it thrilled with astonishment at Charles Egbert Craddock's pictures of the dwellers in the Tennessee Mountains, and at Octave Thanet's revelations of life in the canebrakes of Arkansas; and it lingered over the Old South before the war as revealed by Johnston, and Harris, and Page. Never was movement launched with more impetus. No sooner had The luck of Roaring camp reached the East than the foremost publishing house of Boston hailed it as a new classic. Its author immediately was offered ten thousand dollars a year to write for The Atlantic monthly, and the progress of his train east as he came to accept his unprecedented commission was indicated by daily bulletins
Russia (Russia) (search for this): chapter 2.19
Chapter 6: the short story The period between the Civil War in America and the outbreak of the Great War in Europe in 1914 may be termed in the history of prose fiction the Era of the Short Story. Everywhere, in France, in Russia, in England, in America, more and more the impressionistic prose tale, the conte—short, effective, a single blow, a moment of atmosphere, a glimpse at a climactic instant—came, especially in the magazines, to dominate fictional literature. Formless at first, often overloaded with mawkishness, with essay effects, with moralizing purpose, and dominating background, it grew constantly in proportion and restraint and artistic finish until it was hailed as a new genre, a peculiar product of nineteenth century conditions, one especially adapted to the American temperament and the American kultur. That the prose story was no innovation peculiar to later literature, is an axiom that must precede every discussion of it. It is as old as the race; it has cropp
Thomas Hyke (search for this): chapter 2.19
and in that subtle art that makes the obviously impossible seem perfectly plausible and commonplace, he surpassed not only him but Edward Everett Hale and all others. After Stockton and The lady or the Tiger? it was realized even by the uncritical that short story writing had become a subtle art and that the master of its subtleties had his reader at his mercy. The best of Stockton's short work is to be found in his Negative Gravity, The Transferred Ghost, The Remarkable Wreck of the Thomas Hyke, and The Late Mrs. Null. It is like nothing else in American literature: everywhere paradox presented with the utmost gravity, everywhere topsy-turviness and anticlimax and the grotesquely unexpected. There is little of substance in it all; it is opera bouffe, amusing, delightful, ephemeral. Even now Stockton is remembered only for The lady or the Tiger? and the present generation considers even that story clumsy work when compared with the creations of his successor, O. Henry. Anot
Harriet Beecher Stowe (search for this): chapter 2.19
lf. One cannot forget them. A transition from another source is to be found in the stories of Sarah Orne Jewett (1849-1909), who also stands on the border line between the real and the romantic. She was affected not at all by Harte, but by Mrs. Stowe and Rose Terry Cooke. In her Deephaven (1877) she struck the new note of the decade, concreteness, geographical locality made so definite and so minutely real that it may be reckoned with as one of the characters in the story. Rose Terry Cooke had written of New England; Miss Jewett wrote of Deephaven, which was Berwick, Maine, her native town. Mrs. Stowe and Mrs. Cooke wrote of the New England flood tide; Miss Jewett wrote of the ebb, not despairingly like Miss Wilkins and the depressed realists, but reverently and gently. Over all her work is the hint of a glory departed, that Irving-like atmosphere which is the soul of romance. She delighted in decaying old seaports with their legends of other and better days, of old sea capta
Putnam (search for this): chapter 2.19
sensational material of the thirties—old wine in new bottles. The annuals and all they stood for were passing rapidly. Putnam's magazine noted in February, 1853, the great change that had come over the literature for the holiday period. It used in Godey's lady's Book and Graham's magazine and the annuals and then to turn to Harper's magazine, established in 1850, Putnam's magazine, in 1853, and The Atlantic monthly, in 1857. In England it was the period of Dickens and Thackeray and Readfiction of the earlier type. A new demand had come to the short story writer; in the Introductory to the first volume of Putnam's magazine the editor announced that American writers and American themes were to predominate, adding that local reality the mood was upon him, temperamental, Celtic-souled material which he published here and there in the magazines—Harper's, Putnam's, the Atlantic, until, enlisting in one of the first regiments of volunteers, he fell in one of the earliest skirmishes
Negative Gravity (search for this): chapter 2.19
nde and his grace of style, but in whimsicality and unexpectedness and in that subtle art that makes the obviously impossible seem perfectly plausible and commonplace, he surpassed not only him but Edward Everett Hale and all others. After Stockton and The lady or the Tiger? it was realized even by the uncritical that short story writing had become a subtle art and that the master of its subtleties had his reader at his mercy. The best of Stockton's short work is to be found in his Negative Gravity, The Transferred Ghost, The Remarkable Wreck of the Thomas Hyke, and The Late Mrs. Null. It is like nothing else in American literature: everywhere paradox presented with the utmost gravity, everywhere topsy-turviness and anticlimax and the grotesquely unexpected. There is little of substance in it all; it is opera bouffe, amusing, delightful, ephemeral. Even now Stockton is remembered only for The lady or the Tiger? and the present generation considers even that story clumsy work wh
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