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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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1891 AD (search for this): chapter 2.19
transition period into the seventies and eighties, and ending with a final collection as late as 1891, one may trace every phase of the American short story in half a century. Her early Atlantic nar of Washington, D. C., he was one of the most cosmopolitan of American writers. It was not until 1891 that his Tales of soldiers and Civilians, later changed to In the midst of life, gave him a place an entire Atlantic article to the short-story collections of the year. The full triumph came in 1891, which produced this significant list of collections: Elsket, and other stories, Thomas Nelson Pa England conditions by Mary E. Wilkins Freeman, in A Humble Romance (1887) and A New England Nun (1891). If the florid, sentimental school of the mid-century went to one extreme, she went to the otherRichard Harding Davis Ibid (1864-1916), whose literary life, from the appearance of Gallegher in 1891 to his death, coincided almost exactly with the modem period in American literature, may be chose
1892 AD (search for this): chapter 2.19
ur 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 reality, of a feeling left on the reader of actuality and truth to human life. The first significant figure of the transition was Rose Terry (1827-92), later better known as Rose Terry Cooke, who has the distinction of having contributed seven short stories to the first eight numbers of the Atlantic. Born in Connecticut—the heart of New England, a school teacher with experience in country districts, she wrote with knowledge and conviction of the area of life that she knew. In her long series of stories beginning in the forties with unlocalized romantic tales in Graham's and extending throughout the transition period into the seventies and
1887 AD (search for this): chapter 2.19
rumbling Idols,—and then proceeded to work out its careful pictures with deliberate art. Garland's Main-Travelled Roads, stories of the settlement period of the Middle Border, have no golden light upon them. They tell the truth with brutal directness and they tell it with an art that convinces. They are not mere stories; they are living documents in the history of the West. So with the Maupassant-like pictures of later New England conditions by Mary E. Wilkins Freeman, in A Humble Romance (1887) and A New England Nun (1891). If the florid, sentimental school of the mid-century went to one extreme, she went to the other. Nowhere in English may one find more of repression, more pitiless studies of repressed lives, more bare searchings into the soul of a decadent social 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 n
January, 1858 AD (search for this): chapter 2.19
amber gods fluttered for a time the readers of the early sixties, she was able to heed the voice of the new period and to grow and outgrow, and it was this power that made her the pioneer and the leader not only of the group of depicters of New England life, but of the whole later school of makers of localized short fiction realistically rendered. Rose Terry came gradually, an evolution, without noise or sensation; not so Fitz-James O'Brien (1828-62), who, after his The Diamond Lens (January, 1858), was hailed loudly as a new Poe. O'Brien's career in America was meteoric. He appeared unheralded, in 1852, an adventurer who had been educated in Dublin University, and who had squandered a rich patrimony in London. For ten years he lived in the Bohemian circles of New York, writing impetuously, when the mood was upon him, temperamental, Celtic-souled material which he published here and there in the magazines—Harper's, Putnam's, the Atlantic, until, enlisting in one of the first reg
1885 AD (search for this): chapter 2.19
, while revising his work declared that he had felt a sense of relief when he abandoned the frail craft of the short story where he ever had felt in danger of running ashore. Scarcely one of the later group of short story writers but sooner or later sought permanence in what, though they might not have confessed it, seemed to them the more permanent and dignified form of fiction. Beginning in 1884, however, collections more and more began to dominate the output of fiction. Henry James in 1885 gathered up his scattered work of a decade and put it forth as Stories revived. Others followed him, until seven years later the critic Copeland could devote an entire Atlantic article to the short-story collections of the year. The full triumph came in 1891, which produced this significant list of collections: Elsket, and other stories, Thomas Nelson Page; Balaam and his master, Joel Chandler Harris; Flute and violin, James Lane Allen; Otto the Knight, Octave Thanet (Alice French); Main-T
1883 AD (search for this): chapter 2.19
ve, not as an outside spectator and an exhibitor like Miss Murfree. The same may be said of Richard Malcolm Johnston (1822-98), whose Dukesborough tales, dealing with rural life in the Georgia of his youth, first were given to Northern readers in 1883. The evolution of Johnston's art is an interesting study. He was inspired not by Irving or by any of the Northerners, but by Longstreet, See also Book II, Chap. XIX. whose brutally realistic Georgia scenes had appeared as early as 1835. Ia sketches, and still later, in 1871, he had reissued them in Baltimore as Dukesborough tales. He, therefore, must be reckoned with Harte as a pioneer, though his work had few readers and no influence until it was again reissued by the Harpers in 1883. Even then, and afterwards when he had added new and more artistically handled material, he was not a highly significant figure. Studies of provincial Georgia life he could make, some of them bitingly true, but his range was small and his soundi
1884 AD (search for this): chapter 2.19
ted by the appearance of Marjorie Daw was mild compared with that accorded to Frank R. Stockton's The lady or the Tiger? （1884). Stockton (1834-1902） See also Book III, Chap. XI. had not the technique of Aldrich nor his naturalness and ease. Cety, an artist merely for the sake of his art. With the eighties the short story came in America fully to its own. Up to 1884 it had generally been regarded as a magazine form, a rather trivial thing as compared with the stately novel. Hawthorne h though they might not have confessed it, seemed to them the more permanent and dignified form of fiction. Beginning in 1884, however, collections more and more began to dominate the output of fiction. Henry James in 1885 gathered up his scatterer; With My friends, Brander Matthews; Rudder Grangers abroad, Stockton; The Adventures of three worthies, Clinton Ross. 1884 was the climactic year in the history of the short story inasmuch as it produced The lady or the Tiger? and In the Tennes
1914 AD (search for this): chapter 2.19
Chapter 6: the short story The period between the Civil War in America and the outbreak of the Great War in Europe in 1914 may be termed in the history of prose fiction the Era of the Short Story. Everywhere, in France, in Russia, in England, in America, more and more the impressionistic prose tale, the conte—short, effective, a single blow, a moment of atmosphere, a glimpse at a climactic instant—came, especially in the magazines, to dominate fictional literature. Formless at first, oftand remains, and, what is more, it lifts and chastens or explains. It may be said with assurance that Short Sixes marks one of the high places which have been attained by the American short story. In the same group belongs Ambrose Bierce (1838-1914?), though in mere point of time he is to be counted with the California group of the early Overland monthly days. A soldier of the Civil War, editor of the San Francisco News letter in 1866, associate editor, with the younger Tom Hood, of London
1910 AD (search for this): chapter 2.19
the supreme tests. He attempted too much, he skimmed over too much ground, he observed too much of the superficial and not enough of the real underlying heart of life. He was a facile sketcher of surfaces, a versatile entertainer, a craftsman rather than a critic of human life, an artist enamoured with his art rather than a creator who worked with the deeper materials of the human tragedy and comedy. The period closes with the work of William Sydney Porter, better known as O. Henry (1862-1910), whose sudden rise and enormous popularity are one of the romances of the history of the short story. Only the bare facts of his biography need detain us: his Southern origin, his limited education, his sixteen years in Texas, his unfortunate experience as a bank clerk, his flight to South America, his return after a few months to serve a sentence in the Ohio State prison, and finally his last years in New York City—as picturesque a life as may be found in the annals of literature. His s
1909 AD (search for this): chapter 2.19
rawn with all the pitiless realism of a Zola. O'Brien added the sense of actuality to Poe's unlocalized romance, but his influence was not large. Another figure in the transition was Edward Everett Hale See also Book III, Chap. XIII. (1822-1909), whose The man without a country, first published in 1863, has been accepted generally as an American classic. Little else that he has written, and he wrote much in many fields, gives promise of surviving, and the reasons why this should surviveoo she worked always with insight and sympathy. Stories like her The front Yard are constructed of the materials of life itself. One cannot forget them. A transition from another source is to be found in the stories of Sarah Orne Jewett (1849-1909), who also stands on the border line between the real and the romantic. She was affected not at all by Harte, but by Mrs. Stowe and Rose Terry Cooke. In her Deephaven (1877) she struck the new note of the decade, concreteness, geographical local
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