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1

Staṛay, Muqtaṣid. G̣anahg̣ār. Lāhawr: Muqtaṣid Staṛay, 2017.

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2

Pākistān, Akādmī Adabiyāt-i., ed. Da afsāne Intik̲h̲āb. Islāmābād: Akādamī Adabiyāt-i Pākistān, 2010.

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3

Kāsī, Dur Muḥammad. Dur shal: Afsāne. Peṣhawar: Tāj Kutubkhānah, 1993.

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4

compiler, Azmūn Lāl Pāchā, Khān Muḥammad Arshad compiler, Khatīż Khparandūyah Ṭolanah, and Kandahār Pohantūn. Da Zhabo aw Adabīyāto Pohanżay, eds. Da T̤āhir As̲ar Aprīdī dāstānī kuliyāt: Lanḍī kīse = Tahir Asar Afridi's legend collection : short stories. Jalālkoṭ: Khatīż Khparandūyah Ṭolanah, 2018.

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5

Anżawr, Zarrīn. Abāsīn kisay kawī: Da kīso muntakhabah majmūʻah. Kābul: Da A.D.J. da Līkwālo Ittiḥādiyah, 1986.

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6

Anżūr, Zarīn. Puṣhto maʻāṣir dāstānī adabiyāt: Tārīkhī, intiqādī katanah. Jarmanī: Da Afghānistān da Kultūrī Wade Ṭolanah, 2014.

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7

Sāḥil, Muḥammad Yūsuf. Pah suhelī Puṣhtūnkhwā kṣhe da Pushto nāwil taḥqīqī aw tanqīdī jāyzah: Cirtical & research analysis of Pashto novel in Southern Pashtoonkhwa : da Em. Fil taḥqīqī maqālah. Koṭah: Puṣhto Adabī Ghūrżang, 2018.

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8

Asīr, Aḥmad ʻAlī. Puṣhto nāwil aw nāwilūnah: Taḥqīq aw tanqīd. Peṣhawar: Yūnīwarsiṭī Buk Ejansī, 2013.

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9

Ḥaqmal, Bism Allāh. Pah Puṣhto zhabah ke dāstānī adabiyāt: Da ṡeṛandwī ʻilmī rutbe tah da tarfīʻ lapārah. Kābul: Da Afghānistān da ʻUlūmo Akāḍemī, Da Basharī ʻUlūmo Muʻāwanīyat, Da Zhabo aw Adabiyāto ʻIlmī Markaz, Da Puṣhto Zhabe aw Adabiyāto Instītiyūt, 2012.

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10

Muḥammad, Shahbāz. Da Malakanḍ afsānah. Tāṇah, Malākanḍ: Idārah Mat̤būʻāt Malākanḍ, 2020.

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11

Ḥasrat, Muḥammad Zubayr. Puṣhto aw nore afsāne Ajmal Khaṭak. Peṣhawar: Yūnīwarsiṭī Buk Ejansī, 2012.

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12

Sahīm, Nur Muḥammad. Pah Puṣhto lanḍo kīso ke riyālīstī afkār. Kābul: Da Afghānistān da ʻUlūmo Ikāḍayme, da Zhabo aw Adabiyāto Markaz, 1986.

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13

Aʻz̤am, Anītā. Da Puṣhto pah afsānwī adab kṣhe da ṣhaże ūlasī maqām aw kirdār: Depiction of women in modern Pashto fiction : da Pī. Ech. Ḍī maqālah. Peṣhawar: Yūnīwarsiṭī Buk Ejansī, 2010.

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14

Muḥammadī, Muḥammad Ḥusayn. Farhang-i dāstānʹnivīsī-i Afghānistān. Swīdin: Ferdawsī, 2016.

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15

Widmark, Anders. Voices at the borders, prose on the margins: Exploring the contemporary Pashto short story in a context of war and crisis. Uppsala: Uppsala Universitet, 2011.

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16

Riz̤āzādah, Shuʻlah. Kasī pusht-i vāzhahʹhā pinhān shudah ast: Majmūʻah-i dāstān = Someone is hiding behind my words : short stories. London: H&S Media, 2016.

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17

Tabassum, Akhūnkhel, and Kārwān Pīr Muḥammad, eds. [Pushto short stories. 1994.

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18

ʻIrfān, Khaṭak, Wiṣāl Bādshāh Shīrīn, Żāżī Tūryālī, Yūsufzai Nūrul Amīn, Mawlwī Aḥmad, Pīs̲ay Mīrzā Khān, Surūr Fārūq, and ʻAdīb ʻAbdulkāfī, eds. [Pushto short stories, 1990- ]. 1990.

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19

Muflis, Durrānī, Majāz Aẓmat Humā, Sarwar Farūq, Aryanzay Iḥsān Allāh, Yār Muḥammadā Jān, Daryāb ʻAlī Khel, Qāniʻ ʻAsmat, et al., eds. [Pushto short stories. 1995- ]. <1995-2001>, 1995.

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20

[Pushto short stories. Pt. 1]. Da Afghānistān da Kultūrī Khidmatūno Idārah, 2001.

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21

Sḥkulā. Peṣhawar: Sarḥad Puṣhto Adabī Ṭolạnah, 1986.

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22

Paywand. Peṣhawar: Yūnīwarsiṭī Buk Ejansī, 2009.

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23

Khudāʼī yaw mālgay tarwe. Peṣhawar: Tāj Kutub Khānah, 1992.

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24

Da Suhayl dāstānī storī: Da Suhaylī Puṣhtūnkhwā da dāstānī adabiyāto makhkṣhī ṡere. Jalālābād: Hāshimī Khprandūyah Ṭolanah, 2020.

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25

My Pen Is the Wing of a Bird: New Fiction by Afghan Women. Grand Central Publishing, 2022.

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26

Cummins, Sian. 2p Pusher: Short Stories. Independently Published, 2017.

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27

Pusht chirāgh qirmiz: Majmūʻih yi shibh maqālāt. Tihrān: Nashr Qaṭrih, 2012.

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28

Pusht-I Chashman-I Yakhzadah: Behind the Frozen Eyes. Primedia eLaunch LLC, 2018.

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29

Eller, Jonathan R. Dark Carnival. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0026.

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This chapter discusses Ray Bradbury's revisions and last-minute reconfigurations for Dark Carnival prior to its May 1947 publication. According to August Derleth, Dark Carnival cost more in press corrections than all his previous Arkham House titles combined. But it was clear that Bradbury pushed as hard as he could to update it as it moved toward the May 1947 publication date. For instance, he replaced “The Poems” with a newer story, “The Coffin”; cut two stories from the page proofs (“The Watchers” and “Trip to Cranamockett”); and tried to make significant revisions in seven other short stories. This chapter considers the reception of Dark Carnival following its official release, citing reviews such as those of Anthony Boucher of the San Francisco Chronicle, Will Cuppy of the New York Herald Tribune Weekly Book Review, and Arthur Hillman of Britain's Fantasy Review. It also looks at the continuing marketing friction between Bradbury and Derleth, along with other projects spun off by Bradbury's original concept for Dark Carnival.
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30

Smith, Jennifer J. Resisting Identity. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0006.

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Chapter five argues that the best way to grasp William Faulkner’s oeuvre is through the paradigm of the short story cycle because of his use of limited localities, interstitial temporalities, and formative kinships; this approach pushes against a mountain of criticism that expects and measures the unity of his work. The form, with its privileging of multiple, competing narratives, is ideally suited to articulating the crises of history and subjectivity that Faulkner dramatizes. Faulkner’s achievements in the cycle reach an apex in Go Down, Moses (1942), which is his most sustained treatment of black-white relations. Go Down, Moses explores both continual and heightened moments of interracial intimacies. The stories most sharply narrate the crises that the white McCaslin line faces when grappling with their unacknowledged kinship with the black Beauchamp line. This chapter demonstrate that the cycle dramatizes the production of provisional racial identities, because they do not depend upon rigid distinctions, essential characteristics, or defined origins.
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