A selection from the world's greatest short stories, illustrative of the history of short story writing.

Mode of access: Internet.

The Best short stories of ... and the yearbook of the American short story.

Published: New York : Dodd, Mead, 1926-1932.

The National, a short story.

Mode of access: Internet.

The best short stories of 1915 : and the yearbook of the American short story /

The water-hole / Maxwell Struthers Burt -- The wake / Donn Byrne -- Chautonville / Will Levington Comfort -- La Derniere mobilisation / W. A. Dwiggins -- The citizen / James Francis Dwyer -- Whose dog? / Frances Gregg -- Life / Ben Hecht -- T. B. / Fannie Hurst -- Mr. Eberdeen's house / Arthur Johnson -- Vengeance is mine / Virgil Jordan -- The weaver who clad the summer / Harris Merton Lyon.

The book of the short story /

Introduction.--The shipwrecked sailor. About 2500 B.C.--The book of Ruth. About 450 B.C.--Apuleius. The story of Cupid and Psyche. 2d century A.D.--Boccaccio. Frederick of the Alberighi and his falcon. 1353.--The story of Ali Baba, and the forty robbers destroyed by a slave. 1548.--Cervantes. The liberal lover. 1613.--Defoe. The apparition of Mrs. Veal. 1706.--Voltaire. Jeannot and Colon. 1764?--Irving, W. Rip Van Winkle. 1819.--Scott, Sir W. Wandering Willie's tale. 1824.--Mérimée, P. The taking of the redoubt. 1829.--Balzac, H. de. La Grande Bretéche. 1832.--Hawthorne, N. The birthmark. 1843.--Poe, E.A. The cask of Amontillado. 1846.--Turgeneff, I. A Lear of the steppes. 1870.--Stevenson, R.L. Markheim. 1884.--Maupassant, G. de. A coward. 1885.--Kipling, R. Without benefit of clergy. 1890.--A list of representative tales and short stories.

A manual of the short story art.

Mode of access: Internet.

The Best short stories of ... and the yearbook of the American short story.

Mode of access: Internet.

Die Sprache des Wahnsinns. Harald Kaas und sein Erzählband ‘Uhren und Meere’:Harald Kaas and his short story collection 'watches and seas'

This essay examines the only book published by the late Harald Kaas. His collection of short stories Uhren und Meere (1979), dealing with depictions of psycho-pathological states of mind, gained Kaas a short-lived notoriety as he himself was a certified schizophrenic possessing first-hand experience of psychiatric treatment. This essay sets out to investigate whether or to what extent the stories in Uhren und Meere can be understood as a document of the language of madness. It concludes that despite the biographical dimension of his schizophrenic experience, Kaas’s texts fail to voice an as it were unadulterated language of madness. However, when read in conjunction with his quasi-poetological interview statements, it is possible to determine the very nature of madness as a collapse of a logical system of language. Meaning that language cannot actively be used to express madness, while at the same time madness can express itself in a language that we necessarily fail to understand. The language of madness manifests itself as the madness of language.

The fantastic in Erico Verissimo: analysis of the short story “Sonata”

Based on the fantastic narrative, this paper aims to present an analysis of the short story “Sonata”, from Erico Verissimo, which is part of his work Fantoches e outros contos, originally published in 1932. This is the first book published by this author, the only one of his own composed just by short stories. For the purpose of this paper, first of all, it is clarified the concept of fantastic narrative, according to the understanding of some authors – as Todorov (1979), Rodrigues (1988) and Calvino (2004) –, and, furthermore, it is briefly discussed the concepts of strange and marvelous, which contributes to the definition of fantastic. It is also mentioned aspects related to the emergence of fantastic and the reasons of its existence. To verify this element in the narrative, it is required a strange or supernatural event and, also, the hesitation of the reader and of a character. Besides, this kind of narrative involves a certain way of interpretation – the way that the reader faces the events presented by the story contributes to support the fantastic. After these considerations, it is presented a thorough analysis of the short story “Sonata”, which has music as a guide and presents the point of view of its main character, who is not named. That is the story of a young piano teacher that, in the context of World War II, moved by the desire of escaping from reality, gets immerse in old newspapers. In his reading, he finds out an ad from 1912, the year he was born, which requests the services of a piano teacher. From that moment on, a journey to the past starts, and, then, it is possible to verify the presence of several elements that point to the fantastic and allow the reader to experience the hesitation, such as the theory here in use indicates.

WHEN SAYING IT IS NOT DOING IT - "ALGUMA COISA URGENTEMENTE", A SHORT STORY WRITTEN BY JOAO GILBERTO NOLL

the subject matter of this article is the tale "Alguma coisa urgentemente", written by João Gilberto Noll. The short story has the scenario of the Brazilian military dictatorship and is told from the son’s point of view of a political persecution. The tale shows a slow and progressive degradation of the characters because of the father’s choice. This article aims to make a close reading of the language used not neglecting other important aspects of the short story. The protagonist speaker uses a language sometimes suppressing sometimes catatonic sometimes long-winded. In traditional training history, the protagonist matures undergoing a series of trials to reach financial maturity, ethical or human. In the tale, the road is the reverse, the son goes a long agony of learning (both from the physical and psychological pain), he watch the father dehumanizes and dehumanizes too. We intend to read how this transformation occurs at the level of language.

As configurações do amor em Eça de Queirós: Singularidades de uma Raparida Loura e No Moinho

Pós-graduação em Estudos Literários - FCLAR

Sourdough & other stories : a story told in parts (a mosaic novel and exegesis)

The mosaic novel - with its independent 'story-tiles' linking together to form a complete narrative - has the potential to act as a reflection on the periodic resurfacing of unconscious memories in the conscious lives of fictional characters. This project is an exploration of the mosaic text as a fictional analogue of involuntary memory. These concepts are investigated as they appear in traditional fairy tales and engaged with in this thesis's creative component, Sourdough and Other Stories (approximately 80,000 words), a mosaic novel comprising sixteen interconnected 'story-tiles'. Traditional fairy tales are non-reflective and conducive to forgetting (i.e. anti-memory); fairy tale characters are frequently portrayed as psychologically two-dimensional, in that there is no examination of the mental and emotional distress caused when children are stolen/ abandoned/ lost and when adults are exiled. Sourdough and Other Stories is a creative examination of, and attempted to remedy, this lack of psychological depth. This creative work is at once something more than a short story collection, and something that is not a traditional novel, but instead a culmination of two modes of writing. It employs the fairy tale form to explore James' 'thorns in the spirit' (1898, p.199) in fiction; the anxiety caused by separation from familial and community groups. The exegesis, A Story Told in Parts - Sourdough and Other Stories is a critical essay (approximately 20,000 words in length), a companion piece to the mosaic novel, which analyses how my research question proceeded from my creative work, and considers the theoretical underpinnings of the creative work and how it enacts the research question: 'Can a writer use the structural possibilities of the mosaic text to create a fictional work that is an analogue of an involuntary memory?' The cumulative effect of the creative and exegetical works should be that of a dialogue between the two components - each text informing the other and providing alternate but complementary lenses with which to view the research question.