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Books on the topic 'Short Story Cycle'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 May 2024

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1

Szanto, George H. The underside of stones: A story cycle. Toronto: McClelland & Stewart, 1990.

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Szanto, George H. The underside of stones: A story cycle. Toronto: McClelland & Stewart, 1990.

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3

Szanto, George H. The underside of stones: A story cycle. New York: Harper and Row, 1990.

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4

R, Morris Ann, ed. The composite novel: The short story cycle in transition. New York: Twayne Publishers, 1995.

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5

Wallin, Luke. The deer in the sea: A short story cycle. [Little Compton, R.I: The Author, 1997.

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6

Mann, Susan Garland. The short story cycle: A genre companion and reference guide. New York: Greenwood Press, 1989.

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7

The contemporary American short-story cycle: The ethnic resonance of genre. Baton Rouge: Louisiana State University Press, 2001.

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8

Pacht, Michelle. The subversive storyteller: The short story cycle and the politics of identity in America. Newcastle upon Tyne [England]: Cambridge Scholars Pub., 2009.

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9

Jacques, Bres, and Université Paul Valéry. Groupe de recherche en linguistique praxématique., eds. Le recit oral: Colloque international, Montpellier, 24-26 juin 1993 ; suivi de Questions de narrativité : cycle de conférences, Montpellier, février-juin 1993. [Montpellier]: Praxiling, Montpellier III, 1994.

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10

Ingram, Forrest L. Representative twentieth century short story cycles: Studies in a literary genre. Los Angeles, Calif: University of Southern California, 2001.

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11

The one and the many: English-Canadian short story cycles. Toronto: University of Toronto Press, 2001.

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12

Davis, Rocío G. Transcultural reinventions: Asian American and Asian Canadian short-story cycles. Toronto: TSAR, 2001.

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13

Gerald, Kennedy J., ed. Modern American short story sequences: Composite fictions and fictive communities. Cambridge: Cambridge University Press, 1995.

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14

Smith, Jennifer J. American Short Story Cycle. Edinburgh University Press, 2019.

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15

Smith, Jennifer J. Locating the Short Story Cycle. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0002.

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This chapter corrects the long-held assumption that the form began with modernist blockbusters and instead suggests that modernist writers revised a vibrant regionalist tradition to their own uses. It trace the development of the cycle from a regionalist tradition often marked by an attention to the experiences of women and those living on the fringes of America. Nineteenth-century village sketch narratives, such as Caroline Kirkland’s A New Home, Who'll Follow? or, Glimpses of Western Life (1839), served to incorporate towns, distanced from cultural centers, into the national imaginary. These cycles depend upon the construction of a restricted geographic terrain to contain and ground the narratives; in other words, they stake out “limited locality” to encompass the stories. Sarah Orne Jewett’s The Country of the Pointed Firs (1896) and Sherwood Anderson’s Winesburg, Ohio (1919) continue to question the extent to which geographic proximity produces communal affiliation, which is often imagined as an antidote to the poisons of industrialization.

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16

Smith, Jennifer J. The American Short Story Cycle. Edinburgh University Press, 2017. http://dx.doi.org/10.1515/9781474423946.

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17

Delarosa, Cristina. Yellow: A Spectrum Cycle Short Story. Black Bound Books Inc, 2014.

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18

Delarosa, Cristina. Red: A Spectrum Cycle Short Story. Black Bound Books Inc, 2014.

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Delarosa, Cristina. Yellow: A Spectrum Cycle Short Story. Black Bound Books Inc, 2014.

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20

Delarosa, Cristina. Orange: A Spectrum Cycle Short Story. Black Bound Books Inc, 2014.

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21

Zasada, Marc Porter. Impossible Shore: A Story Cycle. Upper Story Press, 2021.

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22

Newman, Britt. Scaling The Wall: A Short Story Cycle. BookSurge Publishing, 2004.

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23

Weiss, Allan. Mini-Cycle. Taylor & Francis Group, 2021.

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24

Mini-Cycle. Taylor & Francis Group, 2021.

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25

Mini-Cycle. Routledge, Chapman & Hall, Incorporated, 2023.

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26

Constructing Coherence in the British Short Story Cycle. Taylor & Francis Group, 2018.

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27

Gill, Patrick, and Florian Kläger. Constructing Coherence in the British Short Story Cycle. Taylor & Francis Group, 2018.

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28

Gill, Patrick, and Florian Kläger. Constructing Coherence in the British Short Story Cycle. Taylor & Francis Group, 2018.

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29

Sivart, Travis I. The Tridington Birthright: A Steampunk Short Story Cycle. Createspace Independent Publishing Platform, 2017.

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30

Gill, Patrick, and Florian Kläger. Constructing Coherence in the British Short Story Cycle. Taylor & Francis Group, 2021.

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31

Mann, Susan G. The Short Story Cycle: A Genre Companion & Reference Guide. Greenwood-Heinemann Publishing, 1988.

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32

Sivart, Travis I. The T.A.L.O.N. Agency: A Dystopian Superhero Short Story Cycle. CreateSpace Independent Publishing Platform, 2018.

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33

Mann, Susan Garland. The Short Story Cycle: A Genre Companion and Reference Guide. Greenwood Press, 1988.

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34

Contemporary American Short-Story Cycle: The Ethnic Resonance of Genre. Louisiana State University Press, 2004.

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35

Cox, Karen Castellucci. Merging fictions: Community, memory, and the twentieth century story cycle. 2001.

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36

Smith, Jennifer J. Novellas-in-Flash and Flash Cycles. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0008.

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The coda places the book in a larger discourse about new formalisms, which see form as a way to understand political, social, and ethical issues as intrinsic to aesthetic practice. The coda offers a theory of how the short story cycle inverts, displaces, and combines elements of the short story, the short story collection, the novel, and ancient story cycles. The long history of the cycle suggests a unique generic compulsion—which unsettles expectations of closure, development, revelation, and explanation—that revolutionized modern and contemporary fiction.

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37

Smith, Jennifer J. Atomic Genre. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0007.

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The final chapter theorizes the atomic structure of short story cycles by analyzing the production, structure, and reception of Jennifer Egan’s A Visit from the Goon Squad (2010). Egan describes the stories in A Visit from the Good Squad as atomized—in the way that discrete songs, part of a bigger album, define contemporary music production and consumption. Many purists lament that such atomization can limit producing a wholly realized album, vision, or book. But, her book shows that it is also liberating. In a cycle about time, music, and subjectivity, nothing could be more important than the pauses that happen in the in-between, most powerfully rendered in her now-famous short story told in Power Point, “Great Rock and Roll Pauses.” Her term “atomic” implies that isolating the most basic part generates power, and it implies a logic in which a proposition, sentence, or formula cannot be analyzed into a coherent structure.

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38

Smith, Jennifer J. Forming Provisional Identities. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423939.003.0001.

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The introduction argues that the short story cycle is the preeminent genre for articulating the uncertainty that characterizes literary responses to modernity. The introduction outlines two vital contributions of the cycle to American literary history: 1. the absence of textual harmony in the cycle initiated new, pervasive narrative techniques of proliferating perspectives and disrupting chronology that inflect modern and contemporary fiction and 2. the form of the cycle enables the expression of subjectivity without fixity. Contingency and multiplicity are so central to our social-media infused culture that provisionality is its defining characteristic, but this book shows that the seeds for this go back almost to the nation’s founding.

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39

Lynch, Gerald. One and the Many: English-Canadian Short Story Cycles. University of Toronto Press, 2016.

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40

Lynch, Gerald. One and the Many: English-Canadian Short Story Cycles. University of Toronto Press, 2001.

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41

Skrbic, Nena. Wild Outbursts of Freedom. Greenwood Publishing Group, Inc., 2004. http://dx.doi.org/10.5040/9798216035817.

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A pivotal figure in the world of novelists, Virginia Woolf was an outsider as a short story writer. Her stories form a large part of her output, but they were routinely sidelined in favor of her novels, which remain her pre-eminent literary legacy. Bringing together information from unpublished sources, Skrbic provides a long-overdue examination of Woolf's experiments with the short story form. Offering a model for the analysis of Woolf's short fiction, this book gives prominence to the way in which Woolf utilizes the short story's indeterminate frame to question the form, structure, and conventionalities of fiction. Scholars, students, and fans of Woolf will profit from this careful consideration of a neglected area of Woolf scholarship. Despite her popularity as a novelist, Woolf was among the very few writers of her generation to face the creative challenge of writing stories with no direct action, human content, or dialogue. For Woolf, writing short fiction was a displacement activity and the short story's marginal and detached framework lent an ideal shape to her thoughts. Here, Skrbic examines Woolf's commitment to and enthusiasm for exploring the genre's potential and looks at how her stories intersect with biography, ghost stories, and the short story cycle. Wild Outbursts of Freedom offers readers a unique opportunity to expand their understanding of Woolf and her work.

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42

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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43

Gordon, Neta. Bearers of Risk: Writing Masculinity in Contemporary English-Canadian Short Story Cycles. McGill-Queen's University Press, 2022.

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44

Bearers of Risk: Writing Masculinity in Contemporary English-Canadian Short Story Cycles. McGill-Queen's University Press, 2022.

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45

Peterson, Bertil G. The Untilled Field and Winesburg, Ohio: Window symbolism in early 20th-century short story cycles. 2006.

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46

Whalan, Mark. Race, Manhood, and Modernism in America: The Short Story Cycles of Sherwood Anderson and Jean Toomer. University of Tennessee Press, 2017.

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47

Race, Manhood, and Modernism in America: The Short Story Cycles of Sherwood Anderson and Jean Toomer. Univ Tennessee Press, 2007.

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48

Kennedy, J. Gerald. Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge University Press, 2011.

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49

Kennedy, J. Gerald. Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge University Press, 1995.

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50

Kennedy, J. Gerald. Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge University Press, 2011.

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