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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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New York (New York, United States) (search for this): chapter 2.19
d closes with the work of William Sydney Porter, better known as O. Henry (1862-1910), whose sudden rise and enormous popularity are one of the romances of the history of the short story. Only the bare facts of his biography need detain us: his Southern origin, his limited education, his sixteen years in Texas, his unfortunate experience as a bank clerk, his flight to South America, his return after a few months to serve a sentence in the Ohio State prison, and finally his last years in New York City—as picturesque a life as may be found in the annals of literature. His short story career began almost by accident, the result of his enforced leisure in prison. His first story, Whistling Dick's Christmas Stocking, redolent of Bret Harte, was published in McClure's magazine in 1899. Following it irregularly, came a series of Western and South American tales, and then finally a most remarkable output of stories dealing with the human comedy and tragedy of New York City. Nowhere
Craddock (West Virginia, United States) (search for this): chapter 2.19
From all sections of the country came now a tide of short fiction the chief characteristic of which was its fidelity to local conditions. The Century published Page's Marse Chan, a story entirely in negro dialect. Joel Chandler Harris See also Book III, Chap. V. contributed his inimitable Uncle Remus studies of negro folklore and added to them short stories of the mountain crackers. Mingo and other sketches, which appeared the same year as In the Tennessee Mountains, deals with the Craddock region and people but with surer hand. Harris was himself a native of Georgia hills, though he was by no means a cracker, and he spoke with the sympathy and the knowledge of a native, not as an outside spectator and an exhibitor like Miss Murfree. The same may be said of Richard Malcolm Johnston (1822-98), whose Dukesborough tales, dealing with rural life in the Georgia of his youth, first were given to Northern readers in 1883. The evolution of Johnston's art is an interesting study.
Alaska (Alaska, United States) (search for this): chapter 2.19
for a city daily. Here are modem instances in all parts of the world, engagingly told. He has been everywhere, he has seen everything, he has learned all the world's rituals and all its secrets. There is no leisurely approach, no sentimental colourings, no literary effects; they are life seen in flashes, a vivid fragment snipped from the moving film of human life. It may be illustrated also by Jack London's (1876-1916） See also Book III, Chap. XI. headlong art: strangeness always,—Alaska of the gold rush, the ultimate South Seas, the unknown recesses of the prize ring, the no-man's land of the hobo,—impressionistic studies in sensation. He was writing for money and for little else, and he studied his market like a broker. Earlier literature was aristocratic,—it was written for the refined few; the latest literature is democratic,—it is written for the mass, and the mass is uncritical and unrefined. Its demands are gross: sensation, movement, physical thrill. London ga
Baltimore, Md. (Maryland, United States) (search for this): chapter 2.19
The evolution of Johnston's art is an interesting study. He was inspired not by Irving or by any of the Northerners, but by Longstreet, See also Book II, Chap. XIX. whose brutally realistic Georgia scenes had appeared as early as 1835. In 1857 Johnston had written The Goose pond School and had followed it with other realistic studies for The Southern magazine. Later they were gathered for a Southern edition entitled Georgia sketches, and still later, in 1871, he had reissued them in Baltimore as Dukesborough tales. He, therefore, must be reckoned with Harte as a pioneer, though his work had few readers and no influence until it was again reissued by the Harpers in 1883. Even then, and afterwards when he had added new and more artistically handled material, he was not a highly significant figure. Studies of provincial Georgia life he could make, some of them bitingly true, but his range was small and his soundings, even within his narrow area, were not deep. He must be class
Georgia (Georgia, United States) (search for this): chapter 2.19
is an interesting study. He was inspired not by Irving or by any of the Northerners, but by Longstreet, See also Book II, Chap. XIX. whose brutally realistic Georgia scenes had appeared as early as 1835. In 1857 Johnston had written The Goose pond School and had followed it with other realistic studies for The Southern magazine. Later they were gathered for a Southern edition entitled Georgia sketches, and still later, in 1871, he had reissued them in Baltimore as Dukesborough tales. He, therefore, must be reckoned with Harte as a pioneer, though his work had few readers and no influence until it was again reissued by the Harpers in 1883. Even then, and afterwards when he had added new and more artistically handled material, he was not a highly significant figure. Studies of provincial Georgia life he could make, some of them bitingly true, but his range was small and his soundings, even within his narrow area, were not deep. He must be classified with the makers of sketche
New Hampshire (New Hampshire, United States) (search for this): chapter 2.19
hool —in 1870 were just beginning to find themselves, and they fell under the spell of Harte just as Longfellow and his circle in earlier days had fallen under the spell of Irving. It was not until the eighties and the early nineties that the tide which had begun in The Overland monthly in 1868 came to its full. Perhaps the most interesting transition during the period is that which may be traced in the work of Constance Fenimore Woolson (1838-94), a grandniece of Cooper, a native of New Hampshire, and a dweller successively by the Great Lakes, in the South, and in Italy, where she died. At the beginning of the seventies Miss Woolson was writing unlocalized poetic stories for Harper's, A Merry Christmas, An October idyl, and the like, tales that might have come from the early period of Rose Terry Cooke. But soon one notes a change, a new sense of the value of background and of strongly individualized types for characters. By 1874 she was choosing the West for her materials. He
South America (search for this): chapter 2.19
red with his art rather than a creator who worked with the deeper materials of the human tragedy and comedy. The period closes with the work of William Sydney Porter, better known as O. Henry (1862-1910), whose sudden rise and enormous popularity are one of the romances of the history of the short story. Only the bare facts of his biography need detain us: his Southern origin, his limited education, his sixteen years in Texas, his unfortunate experience as a bank clerk, his flight to South America, his return after a few months to serve a sentence in the Ohio State prison, and finally his last years in New York City—as picturesque a life as may be found in the annals of literature. His short story career began almost by accident, the result of his enforced leisure in prison. His first story, Whistling Dick's Christmas Stocking, redolent of Bret Harte, was published in McClure's magazine in 1899. Following it irregularly, came a series of Western and South American tales, and
Lake Superior (New York, United States) (search for this): chapter 2.19
period of Rose Terry Cooke. But soon one notes a change, a new sense of the value of background and of strongly individualized types for characters. By 1874 she was choosing the West for her materials. Her Solomon is a study of a unique character in an isolated German settlement on One-leg Creek which flows into the Tuscarawas River in Ohio, and her Jeanette and most of the other stories in Castle nowhere (1875) deal with the primitive French habitants on Mackinac and the islands of Lake Superior. She had been reading Harte. Later, in the South, she was stirred by the desolation and the poverty wrought by the war, and now with her heart in her work she wrote the first post-bellum Southern short stories founded upon the contrast between what was and what had been. And still later in Italy she caught again the soul of a people and wrought it into the tales to be collected under the title The front Yard. With each volume there had been an increase in definiteness, in picturesque
Mackinac (Michigan, United States) (search for this): chapter 2.19
t might have come from the early period of Rose Terry Cooke. But soon one notes a change, a new sense of the value of background and of strongly individualized types for characters. By 1874 she was choosing the West for her materials. Her Solomon is a study of a unique character in an isolated German settlement on One-leg Creek which flows into the Tuscarawas River in Ohio, and her Jeanette and most of the other stories in Castle nowhere (1875) deal with the primitive French habitants on Mackinac and the islands of Lake Superior. She had been reading Harte. Later, in the South, she was stirred by the desolation and the poverty wrought by the war, and now with her heart in her work she wrote the first post-bellum Southern short stories founded upon the contrast between what was and what had been. And still later in Italy she caught again the soul of a people and wrought it into the tales to be collected under the title The front Yard. With each volume there had been an increase
Berwick, Me. (Maine, United States) (search for this): chapter 2.19
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 captains mellow and reminiscent, and of dear old ladies serene in spite of the buffe
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