Excerpt
This first edition of
Crafting the Very Short Story comprises five parts. The first section is composed of 100 stories and 26 critical essays. The stories are organized alphabetically by author. The narratives represent diverse types of fiction ranging from antiquity to the present, such as Luke's parable, Galeano's fable, Calvino's folktale, Wilde's prose poem, Mann's sketch, Theroux's humor, Maupassant's satire, Moore's realism, S. L. Wisenberg's naturalism, Garcia Mdrquez's magical realism, Frame's fantasy, Le Guin's allegory, Bukowski's dramatic monologue, Woolf's experimental prose, Lispector's stream of consciousness, and Poe's gothic horror. Among the internationally acclaimed authors are Pulitzer Prize winner Eudora Welty, James Joyce, and Nobel laureate Naguib Mafouz, as well as three of the finest writers of this relatively new genre: Yasunari Kawabata, H. H. Munro, and Amy Hemple. Many of the stories will serve as engaging introductions to the authors' longer works. For example, there are pieces by Alice Walker, Marcel Proust, Vladimir Nabokov, Fyodor Dostoevsky and Herman Melville. The rich diversity of excellent literature is designed to provide a global array of choices that peak your students' imagination and desire to write creatively.
The first-person and commentary essays by distinguished writers and scholars appear immediately after their corresponding stories. In many cases, these essays explicate the writers' motivation and stylistic choices, enabling students to better understand how stylistic elementssuch as character, dialogue, and moodwork seamlessly with the governing pattern of the whole to engage the reader and achieve the writer's predetermined goal. You may want to direct students' attention to how the writers dispense with impedimenta to craft lean subtle prose, how they pare the narrative down to its most salient details, thereby achieving economy and grace.
The second section is a stylistic table of contents listing each story by one of the three stylistic devices that dominate this often quickly paced form: voice, point of view, and setting. The section that follows is a Top Ten, if you will, of guidelines for crafting a very short story. More suggestive than prescriptive, it is meant to stimulate thought about stylistic choices as students embark on the creative process. The fourth section comprises 20 exercises that will challenge students' ability to craft succinct narratives that balance emotional pitch and intellectual power.
The above-mentioned literary terms, as well as others, can be found in the glossary, the text's last section.
I must thank certain individuals whose sage counsel has been invaluable throughout the development of Crafting, from its embryonic form to its final proofing: Halina Makowska, whose tact, incisiveness, and translation services were without peer; the exemplary design and edit staff at Prentice Hall, Pearson Education, from Thomas DeMarco and Carrie L. Brandon to Katie Huha and Maureen Benicasa; educators and writers Siobhan Benet, Edwidge Danticat, Barbara McFarlane, Luz Tellez, Kay-Ann Boswell, Beth Coleman, Lisa Jones, Meg O'Rourke, Helen Schulman, Philip Lopate, Mary Gordon, Hemie Kim, Heather Malloy, Ras Baraka, Kevin Powell, and Richard Goldstein; and the following reviewers: Marvin Diognes, University of Arizona; Loren C. Gruber, Missouri Valley College; Frederico Moramarco, San Diego State University; Scott Odom, Loyola Marymount University; and Christopher Trogan, John Jay College of Criminal Justice.