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Chapter 6 - Fitzgerald’s Expatriate Years and the European Stories
- Edited by Michael Nowlin, University of Victoria, British Columbia
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- Book:
- The Cambridge Companion to F. Scott Fitzgerald
- Published online:
- 26 October 2023
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- 09 November 2023, pp 125-153
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Summary
During the peak of his contemporary popularity, F. Scott Fitzgerald lived abroad – mostly in France – for five years and eight months, much of that time pursuing a frenzied social life that impeded his literary work. His European travels included lengthy stays from May 1924 through the end of 1926 and then from March 1929 through September 1931, as well as a five-month sojourn in mid-1928. On foreign shores he experienced misery and elation: his wife Zelda's romance with French aviator Edouard Jozan; completion, publication, and celebration of his third novel, The Great Gatsby (1925); new friendships with Ernest Hemingway and with Gerald and Sara Murphy; innumerable alcoholic binges and embarrassments; false starts on a fourth novel and increasing self-doubts; domestic rivalry and acrimony; Zelda's first nervous breakdown and treatment; his hotel life and fugitive magazine fiction. Only after returning to the United States did Fitzgerald publish Tender Is the Night (1934), a work that despite its flaws plumbs the paradoxes of desire more profoundly than did Gatsby. Understandably, Tender has preoccupied scholars and biographers seeking insight into the author's life abroad, for its thinly veiled treatment of the Fitzgeralds' domestic calamities, set against the crazy violence of postwar Europe, reveals much about the author's own identification with expatriate culture. But the many short stories set at least partly in Europe likewise merit closer attention, less for their biographical connections than for their representations of the American migration to Europe after World War I.
Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- The Cambridge Dictionary of Philosophy
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- 05 August 2015
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- 27 April 2015, pp ix-xxx
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Contributors
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- By Brittany L. Anderson-Montoya, Heather R. Bailey, Carryl L. Baldwin, Daphne Bavelier, Jameson D. Beach, Jeffrey S. Bedwell, Kevin B. Bennett, Richard A. Block, Deborah A. Boehm-Davis, Corey J. Bohil, David B. Boles, Avinoam Borowsky, Jessica Bramlett, Allison A. Brennan, J. Christopher Brill, Matthew S. Cain, Meredith Carroll, Roberto Champney, Kait Clark, Nancy J. Cooke, Lori M. Curtindale, Clare Davies, Patricia R. DeLucia, Andrew E. Deptula, Michael B. Dillard, Colin D. Drury, Christopher Edman, James T. Enns, Sara Irina Fabrikant, Victor S. Finomore, Arthur D. Fisk, John M. Flach, Matthew E. Funke, Andre Garcia, Adam Gazzaley, Douglas J. Gillan, Rebecca A. Grier, Simen Hagen, Kelly Hale, Diane F. Halpern, Peter A. Hancock, Deborah L. Harm, Mary Hegarty, Laurie M. Heller, Nicole D. Helton, William S. Helton, Robert R. Hoffman, Jerred Holt, Xiaogang Hu, Richard J. Jagacinski, Keith S. Jones, Astrid M. L. Kappers, Simon Kemp, Robert C. Kennedy, Robert S. Kennedy, Alan Kingstone, Ioana Koglbauer, Norman E. Lane, Robert D. Latzman, Cynthia Laurie-Rose, Patricia Lee, Richard Lowe, Valerie Lugo, Poornima Madhavan, Leonard S. Mark, Gerald Matthews, Jyoti Mishra, Stephen R. Mitroff, Tracy L. Mitzner, Alexander M. Morison, Taylor Murphy, Takamichi Nakamoto, John G. Neuhoff, Karl M. Newell, Tal Oron-Gilad, Raja Parasuraman, Tiffany A. Pempek, Robert W. Proctor, Katie A. Ragsdale, Anil K. Raj, Millard F. Reschke, Evan F. Risko, Matthew Rizzo, Wendy A. Rogers, Jesse Q. Sargent, Mark W. Scerbo, Natasha B. Schwartz, F. Jacob Seagull, Cory-Ann Smarr, L. James Smart, Kay Stanney, James Staszewski, Clayton L. Stephenson, Mary E. Stuart, Breanna E. Studenka, Joel Suss, Leedjia Svec, James L. Szalma, James Tanaka, James Thompson, Wouter M. Bergmann Tiest, Lauren A. Vassiliades, Michael A. Vidulich, Paul Ward, Joel S. Warm, David A. Washburn, Christopher D. Wickens, Scott J. Wood, David D. Woods, Motonori Yamaguchi, Lin Ye, Jeffrey M. Zacks
- Edited by Robert R. Hoffman, Peter A. Hancock, University of Central Florida, Mark W. Scerbo, Old Dominion University, Virginia, Raja Parasuraman, George Mason University, Virginia, James L. Szalma, University of Central Florida
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- The Cambridge Handbook of Applied Perception Research
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- 05 July 2015
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- 26 January 2015, pp xi-xiv
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Introduction to the Volume
- Ernest Hemingway
- Edited by Sandra Spanier, Pennsylvania State University, Albert J. DeFazio III, George Mason University, Virginia, Robert W. Trogdon, Kent State University, Ohio
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- The Letters of Ernest Hemingway
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- 14 August 2020
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- 30 September 2013, pp xlix-lix
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Summary
This volume of letters illuminates a three-year period that forms the crux of Ernest Hemingway's literary apprenticeship in Paris.
Notes on Contributors
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- By Susan F. Beegel, Milton A. Cohen, Nancy R. Comley, Kirk Curnutt, Albert J. DeFazio, Suzanne del Gizzo, David M. Earle, Carl P. Eby, Robert E. Fleming, Stacey Guill, Peter L. Hays, Ryan Hediger, Gary Edward Holcomb, Jill Jividen, Hilary K. Justice, Verna Kale, Jeremy Kaye, J. Gerald Kennedy, Kelli A. Larson, Leonard J. Leff, Nghana tamu Lewis, Kevin Maier, Miriam B. Mandel, James H. Meredith, Peter Messent, Debra A. Moddelmog, Lisa Narbeshuber, Matthew Nickel, Charles M. Oliver, Mark P. Ott, James Plath, Russ Pottle, Ann Putnam, John Raeburn, Gail Sinclair, Sandra Spanier, Amy Strong, Thomas Strychacz, Frederic Svoboda, Robert W. Trogdon, Lisa Tyler, Alex Vernon, Emily O. Wittman, Susan Wrynn
- Edited by Debra A. Moddelmog, Ohio State University, Suzanne del Gizzo
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- Ernest Hemingway in Context
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- 18 December 2013
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- 17 December 2012, pp xi-xxii
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Chapter 15 - Modernist Paris and the Expatriate Literary Milieu
- from Intellectual and Artistic Movements and Influences
- Edited by Debra A. Moddelmog, Ohio State University, Suzanne del Gizzo
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- Ernest Hemingway in Context
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- 18 December 2013
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- 17 December 2012, pp 153-162
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7 - Fitzgerald’s expatriate years and the European stories
- Edited by Ruth Prigozy, Hofstra University, New York
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- The Cambridge Companion to F. Scott Fitzgerald
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- 28 May 2006
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- 25 October 2001, pp 118-142
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Summary
During the peak of his contemporary popularity, F. Scott Fitzgerald lived abroad - mostly in France - for five years and eight months, much of that time pursuing a frenzied social life that impeded his literary work. His European travels included lengthy stays from May 1924 through the end of 1926 and then from March 1929 through September 1931, as well as a five-month sojourn in mid-1928. On foreign shores he experienced misery and elation: his wife Zelda's romance with French aviator Edouard Jozan; completion, publication, and celebration of his third novel, The Great Gatsby (1925); new friendships with Ernest Hemingway and with Gerald and Sara Murphy; innumerable alcoholic binges and embarrassments; false starts on a fourth novel and increasing self-doubts; domestic rivalry and acrimony; Zelda's first nervous breakdown and treatment; his hotel life and fugitive magazine fiction. Only after returning to the US did Fitzgerald publish Tender is the Night (1934), a work that despite its flaws plumbs the paradoxes of desire more profoundly than did Gatsby. Understandably, Tender has preoccupied scholars and biographers seeking insight into the author's life abroad, for its thinly veiled treatment of the Fitzgeralds' domestic calamities, set against the crazy violence of post-war Europe, reveals much about the author's own identification with expatriate culture. But the many short stories set at least partly in Europe likewise merit closer attention, less for their biographical connections than for their representations of the American migration to Europe after World War I.
10 - Hemingway, Hadley, and Paris
- Edited by Scott Donaldson, College of William and Mary, Virginia
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- The Cambridge Companion to Hemingway
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- 28 May 2006
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- 26 January 1996, pp 197-220
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Summary
In 1933, five years after moving to Key West with his second wife, Pauline Pfeiffer, Ernest Hemingway revisited Paris and there composed a travel letter for Esquire magazine about the “gloomy” mood of the city where he had spent six momentous years in the 1920s. His return seemed “a big mistake”: Some old friends had killed themselves, others clung to the past by scribbling memoirs, and everyone seemed “very discouraged.” The painters complained that nobody was buying their work, and the big cafes in Montparnasse teemed with “refugees from Nazi terror” - as well as with German spies. Everyone assumed the stark inevitability of another world war. But Hemingway's somber report seemed finally to mask a private grief, betrayed near the end of the letter when he evoked the plangent image of the city as a forsaken mistress:
Paris is very beautiful this fall. It was a fine place to be quite young in and it is a necessary part of a man's education. We all loved it once and we lie if we say we didn't. But she is like a mistress who does not grow old and she has other lovers now. She was old to start with but we did not know it then. We thought she was just older than we were, and that was attractive then. So when we did not love her any more we held it against her. But that was wrong because she is always the same age and she always has new lovers.
Index
- Edited by J. Gerald Kennedy, Louisiana State University
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- Modern American Short Story Sequences
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- 29 September 2009
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- 27 January 1995, pp 217-221
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Contents
- Edited by J. Gerald Kennedy, Louisiana State University
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- Modern American Short Story Sequences
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- 29 September 2009
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- 27 January 1995, pp v-v
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Frontmatter
- Edited by J. Gerald Kennedy, Louisiana State University
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- Modern American Short Story Sequences
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- 29 September 2009
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- 27 January 1995, pp i-iv
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Modern American Short Story Sequences
- Composite Fictions and Fictive Communities
- Edited by J. Gerald Kennedy
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- 29 September 2009
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- 27 January 1995
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Originally published in 1995, this book gathers together eleven full-length essays on important American short story sequences of the twentieth century. The introduction by J. Gerald Kennedy elucidates problems of defining the genre, cites notable instances of the form (such as Sherwood Anderson's Winesburg, Ohio), and explores the implications of its modern emergence and popularity. Subsequent essays discuss illustrative works by such figures as Henry James, Jean Toomer, Ernest Hemingway, Richard Wright, William Faulkner, Eudora Welty, J. D. Salinger, John Cheever, John Updike, Louise Erdrich, and Raymond Carver. While examining distinctive thematic concerns, each essay also considers implications of form and arrangement in the construction of composite fictions that often produce the illusion of a fictive community.
Introduction: The American Short Story Sequence – Definitions and Implications
- Edited by J. Gerald Kennedy, Louisiana State University
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- Modern American Short Story Sequences
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- 29 September 2009
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- 27 January 1995, pp vii-xvi
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Summary
A literary form at once ancient and avant-garde, the story sequence resists precise definition and occupies an odd, ambiguous place between the short story and the novel. Critics still disagree about what to call it: The genre discussed here as the sequence – to emphasize its progressive unfolding and cumulative effects – has been variously labeled the “short story cycle,” the “short story composite,” and the “rovelle” (a fusion of roman and nouvelle). Although such works as Joyce's Dubliners and Anderson's Winesburg, Ohio epitomize the type and herald a remarkable outpouring of such collections in the twentieth century, the combining of stories to create a linked series dates back from The Thousand and One Arabian Nights to Chaucer and Boccaccio and even further to classical antiquity itself. Yet efforts to trace the history of the form at once confront the stark discontinuity of its development. Lacunae of centuries between identifiable story sequences call into question the very notion of a sustained tradition. Meanwhile inquiries into its poetics raise a number of difficult questions: What features of arrangement and emphasis differentiate the sequence from the miscellaneous collection? What measure of coherence must a volume of stories possess to form a sequence? In the twentieth century, what distinguishes a connected set of stories from the multifaceted modern novel? Such questions suggest the complications that beset our understanding of what the story sequence is and how it works.
Readers conversant with twentieth-century fiction will, however, instantly recognize the ubiquity and importance of the form as represented by several collections from the era of high modernism.
From Anderson's Winesburg to Carver's Cathedral: The Short Story Sequence and the Semblance of Community
- Edited by J. Gerald Kennedy, Louisiana State University
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- Modern American Short Story Sequences
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- 29 September 2009
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- 27 January 1995, pp 194-216
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If the sense of community “begins with, and is very largely supported by, the experience of interdependence and reciprocity,” as Philip Selznick observes, then the modern short story sequence poses a provocative analogy to this basic social structure. Assembling narratives about diverse characters to form a composite text, such collections curiously resemble the gathering of a group to exchange the stories that express its collective identity. Whether or not fictional protagonists narrate their own accounts, their juxtaposed experiences disclose connections that apparently link their lives to a larger scheme of order and meaning. The analogy between communities and story sequences becomes inescapable in works such as The Country of the Pointed Firs, Dubliners, Tortilla Flat, or Olinger Stories – all of which represent specific population groups or identified enclaves. Sherwood Anderson's Winesburg, Ohio epitomizes this local emphasis insofar as it maps a town and surveys its populace, yielding a panoramic view of its collective life. In a broad sense, the mixed voices and multiple perspectives in these self-conscious “narratives of community” expose the element of communal dialogue inherent in all short story sequences.
Yet, as a written artifact, a product of print culture, the story sequence always assumes an ironic relation to the scene of communal narration that it obscurely simulates. In a much-quoted essay, Walter Benjamin has lamented the recent decline of “the art of storytelling” – the accumulation of narrative density through repeated recitation – noting that the modern short story has already “removed itself from oral tradition.” Much earlier, in Sketches from a Hunter's Album, Turgenev had depicted the same break with orality, projecting the short story writer's loss of community.
Contributors
- Edited by J. Gerald Kennedy, Louisiana State University
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- Modern American Short Story Sequences
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- 29 September 2009
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- 27 January 1995, pp vi-vi
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