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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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Null (search for this): chapter 2.19
at 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. Another who did much to advan
Kate Chopin (search for this): chapter 2.19
With the nineties 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 st
William Austin (search for this): chapter 2.19
ysticism. From out of it all but a single figure has survived, the sombre Hawthorne See also Book II, Chap. XI. Here may be mentioned, however, one short story before Hawthorne which seems rather to anticipate him than to follow Irving, William Austin's tantalizing Peter Rugg,the Missing man, of which the first part appeared in 1824. [For Austin, see also the Bibliography for Book II, Chap. XIX.] who was genius enough to turn even the stuff of the annuals into a form that was to persist Austin, see also the Bibliography for Book II, Chap. XIX.] who was genius enough to turn even the stuff of the annuals into a form that was to persist and dominate. Hawthorne added soul to the short story and made it a form that could be taken seriously even by those who had contended that it was inferior to the longer forms of fiction. He centred his effort about a single situation and gave to the whole tale unity of impression. Instead of elaboration of detail, suggestion; instead of picturings of external effects, subjective analysis and psychologic delineation of character. Hawthorne was the first to lift the short story into the highe
Charles Egbert Craddock (search for this): chapter 2.19
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 revelatioosier schoolmaster, Ibid. and, in the realm of the short story, of George W. Cable and Charles Egbert Craddock. Cable was one of the discoveries of Edward King during his tour of the South for Sc had been launched with such impetus as the latter of these. For six years the name of Charles Egbert Craddock had been appealing more and more to the national imagination because of a series in the Jewett, Cable, Page; second, the exhibitors of strange material objectively presented,—Charles Egbert Craddock, Octave Thanet, and the dialect recorders of the eighties; and third, the veritists of that matter, sufficient to afford material for a Richardson or a Thackeray. Harte and Charles Egbert Craddock and most of the others attempted novels and failed. One may make a moving drama of the
Motte (search for this): chapter 2.19
of the life from which she herself had sprung, yet she held herself so firmly in control that her pictures are as sharp and cold as engravings on steel. With the nineties 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
Margaretta Wade Deland (search for this): chapter 2.19
l system. She wrote with conviction and a full heart of the life from which she herself had sprung, yet she held herself so firmly in control that her pictures are as sharp and cold as engravings on steel. With the nineties 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 t
Edward King (search for this): chapter 2.19
ng into every part of the continent of a network of communication. Books of travel like Bowles's Across the continent and King's The great South began to appear, and all at once the nation awoke to a realization of its own riches, of its own picturen the realm of the short story, of George W. Cable and Charles Egbert Craddock. Cable was one of the discoveries of Edward King during his tour of the South for Scribner's monthly in 1872. It was in New Orleans that he found him working as a humsketches and stories which Cable was writing for himself and for the New Orleans papers. Some of his stories he showed to King, who advised him to send them to Scribner's. One of these, 'Sieur George, was published the following year; others came atn'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
Rebecca Harding Davis (search for this): chapter 2.19
ounced that American writers and American themes were to predominate, adding that local reality is a point of utmost importance. In the first volume of the Atlantic, Emerson struck the new note: How far off from life and manners and motives the novel still is. Life lies about us dumb; and in the same volume a reviewer of George Eliot notes the decline of the ideal hero and heroine. The public is learning that men and women are better than heroes and heroines. By 1861 a writer like Rebecca Harding Davis could open her grim short story, Life in the Iron Mills, with a note like this; I want you to hide your disgust, take no heed to your clean clothes, and come right down with me,—here into the thickest of the fog and mud and effluvia. I want you to hear this story. There is a secret down here, in this nightmare fog, that has lain dumb for centuries: I want to make it a real thing for you. The fifties and sixties in America stand for the dawning of definiteness, of localized real
Celestin (search for this): chapter 2.19
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 local colour vogue during the period undoubtedly was an element toward the making of the American fictional unit short. He who would deal with the social regime of a provincial neighbourhood must of necessity be brief. There was no background of established manners in the comers of America, or in the centres, for that matter, suf
Bret Harte (search for this): chapter 2.19
it is idle to speculate; what did happen was the sudden appearance of a short story that stampeded America and for two decades set the style in short fiction. Bret Harte's The luck of Roaring camp, whatever one may think of its merits, must be admitted to be the most influential short story ever written in America. Francis Brs 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 oent only on amusing and surprising his reader. Everywhere brilliancy, but too often is it joined to cheapness; art, yet art merging swiftly into caricature. Like Harte, he cannot be trusted. Both writers on the whole may be said to have lowered the standards of American literature, since both worked in the surface of life with t
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