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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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H. C. Bunner (search for this): chapter 2.19
hine, an American humorous anecdote elaborately expanded, with a point at the end to be followed by laughter, yet its appearance marked a new stage in the history of the American short story. Tales already there had been that had held a sensation in the last sentence. The amber gods had ended with the startling words: I must have died at ten minutes past one. But in Marjorie Daw the device was handled with a skill that made the story a model for later writers. After Aldrich, Stockton and Bunner and O. Henry. Aldrich brought a style to the short story as distinctive as Cable's, a certain patrician elegance, yet a naturalness and a simplicity that concealed everywhere its art, for art is the soul of it; every sentence, every word a studied contribution toward the final effect. There is no moral, no hidden meaning, no exotic background to be displayed, no chastening tragedy; it is a mere whimsicality light as air, a bit of American comedy. The laugh comes not from what is told bu
Saxe Holm (search for this): chapter 2.19
ess to the form. Nevertheless, he is not a supreme master: that dominating factor in life that eludes scapel and test-tube he never found, and, neglecting it, he falls inevitably into second place as an interpreter of human life. That James and others of his school, like T. B. Aldrich, for instance, and H. C. Bunner, could have directed the short story permanently into the channels that it has followed in France, is doubtful. The great success in the middle seventies of the anonymous Saxe Holm's stories, with their mid-century sentiment and romantic atmosphere, would imply that America at heart was still what it was in the days of Hawthorne and the annuals. What might have happened had James and Howells and Aldrich had full control it is idle to speculate; what did happen was the sudden appearance of a short story that stampeded America and for two decades set the style in short fiction. Bret Harte's The luck of Roaring camp, whatever one may think of its merits, must be admit
T. B. Aldrich (search for this): chapter 2.19
might have happened had James and Howells and Aldrich had full control it is idle to speculate; whaint of the new vogue. Artists like James and Aldrich went on with their work as if The luck of Roae the story a model for later writers. After Aldrich, Stockton and Bunner and O. Henry. AldrichAldrich brought a style to the short story as distinctive as Cable's, a certain patrician elegance, yet a supplied by the reader's imagination. All of Aldrich's thin repertoire of short stories is of the Book III, Chap. XI. had not the technique of Aldrich nor his naturalness and ease. Certainly he hnto their work. His genius was Gallic. Like Aldrich, he approached the short story from the fastindpoint of the lyric poet. With him, as with Aldrich, art was a matter of exquisite touches, of inore American than Henry James, more even than Aldrich. He chose always distinctively native subjecork had more depth of soul than Stockton's or Aldrich's. The story may be trivial, a mere expanded
George Eliot (search for this): chapter 2.19
ine, established in 1850, Putnam's magazine, in 1853, and The Atlantic monthly, in 1857. In England it was the period of Dickens and Thackeray and Reade and George Eliot, the golden age of the later novel. American magazines like Harper's were publishing serial after serial by British pens, yet the demand for short fiction incc, Emerson struck the new note: How far off from life and manners and motives the novel still is. Life lies about us dumb; and in the same volume a reviewer of George Eliot notes the decline of the ideal hero and heroine. The public is learning that men and women are better than heroes and heroines. By 1861 a writer like Rebeccahat a serious story of manners shall close with the factitious happiness of a fairy tale. He was a scientist; his second paper in the Atlantic is a defence of George Eliot, scientist. To both of them the first requisite of fiction was the truth, the truth told directly, simply, concretely. An age of science could no longer to
Hamlin Garland (search for this): chapter 2.19
dler Harris; Flute and violin, James Lane Allen; Otto the Knight, Octave Thanet (Alice French); Main-Travelled Roads, Hamlin Garland; Gallegher, and other stories, Richard Harding Davis; Fourteen to one, Elizabeth Stuart Phelps; Huckleberries gathere the veritists of the nineties who told what they considered to be the unidealized truth concerning the life they knew,— Garland, Miss Wilkins, Frank Norris, See also Book III, Chap. XI. and the rest. This third group approached its task scientifically, stated its doctrines with clearness,—as for example in Hamlin Garland's Crumbling 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 MiddleGarland'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<
Richard Harding Davis (search for this): chapter 2.19
ris; Flute and violin, James Lane Allen; Otto the Knight, Octave Thanet (Alice French); Main-Travelled Roads, Hamlin Garland; Gallegher, and other stories, Richard Harding Davis; Fourteen to one, Elizabeth Stuart Phelps; Huckleberries gathered from New England Hills, Rose Terry Cooke; Iduna, and other stories, George A. Hibbard; Thlacking poise and moral background and beauty of style, he must be passed as an ephemeral sensation. From the multitude of the later short story writers Richard 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 l ephemeral moment for the ephemeral moment, a reporter with pen marvellously facile and ready, a literary craftsman who mastered every detail of his craft. That Davis satisfied his generation goes without saying. A good newspaper man, he gave it what it desired, upto-dateness, swift action, strangeness of setting presented with
Terry (search for this): chapter 2.19
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 coiod 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
Rose Terry Cooke (search for this): chapter 2.19
he threw over her work the soft evening light, yet was she a realist, as Harte never was, and unlike him too 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 locality made so definite and so minutely real that it may be reckoned with as one of the characters in the story. Rose Terry Cooke had written of New England; Miss Jewett wrote of Deephaven, which was Berwick, Maine, her native town. Mrs. Stowe and Mrs. Cooke wrote of the New England flood tide; Miss Jewett wrote of the ebb, not despairingly like Miss Wilkins and the depressed realists, but re
Richard Malcolm Johnston (search for this): chapter 2.19
et's revelations of life in the canebrakes of Arkansas; and it lingered over the Old South before the war as revealed by Johnston, and Harris, and Page. Never was movement launched with more impetus. No sooner had The luck of Roaring camp reached knowledge of a native, 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. In 1857 Johnston had written The Goose pond School and had followed it with other realistic studies for The Southern magazine. Later they were gathered for a Southern edition entitled Georgia sketches, and still later, in 1871, he
Brander Matthews (search for this): chapter 2.19
uckleberries gathered from New England Hills, Rose Terry Cooke; Iduna, and other stories, George A. Hibbard; Three tales, William Douglas O'Connor; Uncle of an Angel, Thomas A. Janvier; Zadoc pine, and other stories, Bunner; 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 Tennessee Mountains, each one of tan extreme that made it almost unintelligible; grotesque localisms in manners and point of view were made central; and all was displayed before a curtain of mountains splashed with broad colours. The year was notable too because it produced Brander Matthews's The philosophy of the Shortstory, a magazine article later expanded into a volume, the first scientific handling of the art of the form since Poe's review of Hawthorne. Realism, or more exactly, perhaps, naturalism, ruled the decade. F
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