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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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1904 AD (search for this): chapter 2.19
eties came the full perfection of short story art. Within their limited field A New England Nun and Main-Travelled Roads may not be surpassed. In another area of the short story James Lane Allen's Flute and violin stands by itself, and in still another such work as Margaretta Wade Deland's Old Chester tales, Grace King's Monsieur Motte, and Alice Brown's Meadow Grass. No more exquisite work, however, may be found in the whole range of the local colour school than that in Kate Chopin's (1851-1904) Bayou Folks (1894). She was of Celtic blood and spontaneously a storyteller. She wrote with abandon, yet always it was with the restrained art that we have got into the habit of calling French. Such stories as Desiree's Baby, the final sentence of which grips one by the throat like a sudden hand out of the dark, and Madame Celestin's Divorce, with its delicious humour and its glimpse into the feminine heart, are among the few unquestioned masterpieces of American short story art. The l
1786 AD (search for this): chapter 2.19
America the evolution of the form may be traced through at least four stages. It began with the eighteenth-century tale of the Hannah More type, colourless, formless, undramatic, subservient, to use a contemporary phrase, only to the interest of virtue—a form peculiarly adapted to flourish in the Puritanic atmosphere of the new nation. Such stories as Chariessa, or a pattern for the sex and The danger of Sporting with innocent Credulity, both from Carey's Columbian magazine established in 1786, satisfied the American reading public for half a century. Then came the work of Washington Irving See also Book II, Chap. IV.—the blending of the moral tale with the Addisonian essay, especially in its Sir Roger de Coverley phase. The evolution was a peculiar one, a natural result of that isolation of early America which belated all its art forms and kept it always a full generation behind the literary fashions of London. Irving's early enthusiasms came from the shelves of the pater
October (search for this): chapter 2.19
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. 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
1899 AD (search for this): chapter 2.19
teen 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 is there anything just like them. In his best work—and his tales of the great metropolis are his best—he is unique. The soul of his art is unexpectedness. Humour at every turn there is, and sentiment and philosophy and surprise. One never may be sure of himself. The end is always a sensat<
1902 AD (search for this): chapter 2.19
he picture supplied by the reader's imagination. All of Aldrich's thin repertoire of short stories is of the same texture. He may be compared with no American writer. To find a counterpart of Marjorie Daw one must go to the French—to Daudet for its whimsical lightness of touch, and to Maupassant for its exquisite technique. But the interest created by the appearance of Marjorie Daw was mild compared with that accorded to Frank R. Stockton's The lady or the Tiger? （1884). Stockton (1834-1902） See also Book III, Chap. XI. had not the technique of Aldrich nor his naturalness and ease. Certainly he had not his atmosphere of the beau monde 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 bec<
January (search for this): chapter 2.19
lections: Elsket, and other stories, Thomas Nelson Page; Balaam and his master, Joel Chandler Harris; Flute and violin, James Lane Allen; Otto the Knight, Octave Thanet (Alice French); Main-Travelled Roads, Hamlin Garland; Gallegher, and other stories, Richard Harding Davis; Fourteen to one, Elizabeth Stuart Phelps; Huckleberries gathered from New England Hills, Rose Terry Cooke; Iduna, and other stories, George A. Hibbard; Three tales, William Douglas O'Connor; Uncle of an Angel, Thomas A. Janvier; Zadoc pine, and other stories, Bunner; With My friends, Brander Matthews; Rudder Grangers abroad, Stockton; The Adventures of three worthies, Clinton Ross. 1884 was the climactic year in the history of the short story inasmuch as it produced The lady or the Tiger? and In the Tennessee Mountains, each one of them a literary sensation that advertised the form tremendously. No book since Harte's The luck of Roaring camp had been launched with such impetus as the latter of these. For six
1915 AD (search for this): chapter 2.19
which the art of making marketable stories may be learned through the mails. In America the short story seems to have become an obsession. The demand of the decade has been for stories with a punch. The material must be out of the ordinary; it must not only breathe the breath of unfamiliar regions but it must give the impression that it is a bit of autobiography, or at least a section of life that has passed under the author's own eyes. The short story work of F. Hopkinson Smith (1838– 1915） See also Book III, Chap. XI. may be taken as an illustration. There is in it the breath of foreign parts, the sense of cosmopolitanism, breezy knowledge of the world. Everywhere alertness, wideawakeness, efficiency, in an easy colloquial style of narrative that has about it a businesslike ring. His brilliant narratives in such a collection as At close range are the work of one who would have made a most efficient special reporter for a city daily. Here are modem instances in all par
1916 AD (search for this): chapter 2.19
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 Force undoubtedly he had and freshness of material, but, lacking poise and moral background and beauty of style, he must be passed as an ephemeral sensation. From the multitude of the later short story writers Richard Harding Davis Ibid (1864-1916), whose literary life, from the appearance of Gallegher in 1891 to his death, coincided almost exactly with the modem period in American literature, may be chosen as the typical figure. Reared in a literary home,— his mother was the author of Li
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