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    2.Mary Louise Pratt

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    53 просмотров12 страниц

    2.mary Louise Pratt

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    Juan
    2.Mary Louise Pratt

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    © All Rights Reserved
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    ‘The Shore Story ‘Tu Lonc AND ‘rae Suont oF Ir MARY LOUISE PRATT be roxvo mse DAYS, according to florist V. Hedifkova 1969), there coo pes of profesionl eel etoryelling: Roden, the elling of long, cron, muinly historical naraives, und rong, the cling of short, Fomowousancedtes The twa gentes ate pecformed indifferent theatres thi iferen gestores, props, mannerisms, and diferent eaiing pro- [rams for apprentices, One, kadan, a the moment i in serous deine aecuge is imevensely poplar and growing. In highly istcrionaixed Pan ofaicourte lke verbal asi relatvey common co find pars of Shove sad long gees lke Rodan and raga. Wester scholcly writing ye he exny a the book; in westezaliteraare we finde epic and the ballad he one-act play and the (cegulr?) ply, che poem snd te log Foci dh hore story andthe novel: Mans diferent reins can obaia penten the members of these pir. They may be seperate bur equal, one Tay Ee derived fom the other, one may be arked with respec co dhe (her {as long poer is to poem), they may be rll as “mot” so vent ora greater” toes” The ple whos eaionship 1 propose “oeuplore here he ast mentioned abot, che short ery andthe nove [Bot Before toening to this pai T want co make explicit ew assumptions Abou genes which wll form de discussion to follow i) There sae present no single comsistene wse ofthe eer “gene.” “rae most ne can sh i hae fe slays teers cos ssbesepory of some ILager category (or stceegpey) of literary works, Thus the genre of ‘Gama is sobestegory of tera, the genre of comedy is subeateeney 2 ‘Mary Louise rae ‘of drama, the gence offre isa subcategory of comedy, al so on. The faztness ofthe teem arises noe jas from its being applied at different levels, but also from its beiag applied acording to ifeene criteria, Genre distinctions are based vatiousy oa subject mate (detecrive story, rs novel), nara stain (confessional aol damatic nonologse), surface linguistic form (soane, prose oem), effect sought in audience (cragdy, meladsam), mose of execution of test (rama) and 4 on (2) Geare is aoe solely a ierary matter. The concept of gence applies toall verbal behavior, nl alms of discourse Genre conventions ate it playin any speech situation, snd sey discourse belongs toa gente, vnless iis a dscouse explicitly designed to flaune the gence system. As Sing. fied Schmidt observes, "eis one ofthe basi astmpions of communi tive text theories (pare fom the above mentioned asomption of the cess social embeddings of text) that texts in socal cmmunicaon always appeat as manifestations of a socly recognimble textsype (Gchmide 1978-4), Establishing typologies of sxe types is ax Schmide scresses, an urgent priory, Within that project, i wil be important relate literary and noavteary genres, wth a view Co esabishing cons prehensive genre ceores athe than the many los one that obtain in literary eri, folklore, auheopology aod socolingutice. The tem “genre” ousie literatures presen suffers fom the same vagueness 8 within literate, ad ies boundaries with terms lie speech event aid speech station ae not cles. Candidates fr noclterary genres ao OF ‘instance, the telephone conversation, lecuse, interview, personal nag tive, verbal dueling, cherpentic decors, (G) Gentes are ne esences They are human instctons, bistorcl throug andthrovgh, The massive effort within lterary ceitlsm % maintain the lyrvepicdramati rad ag abitorial generic absoies Is seriously mistixectel, though of gree ideologeal inverese The myriad "Mcemps link the ipricepic-deamatc tad Widh other phenomens, in putedigms ofthe spe shown in table ate dceced coward making these assis gene distinctions look nator rather than cual, hs septa ing the sphere of ac off fom eer spheres of discourse, an fom socal He in general ‘We need to work out ways of describing the social mode of existence of ences For instance, linguists customarily distinguish bermeen «speaker use vocabalany” (forms the person both says apd understands) and hee or his recognition vocabulary" (forms the petson understands ony), 0d ‘itmighe be useful o dstingush ikewise between we genres an recog Lon geates. In this sciery terry genres belong t's lrge class of genes ‘The Short Story 9% ‘ibe 1 se pe Daaaie Phasesofleguage —Sennaous Tae Concept devciopmene ‘reve Present Past Fouze Pesoo Fist Thst ‘Second Fonconofagioge Expesive Referensal —Consive Files of thesoulFesing ‘Thinking Valin Funcionsof te -Emwcve ———Iagintve ——-Motoie Teroussyimm caperance expenence expense, Westview Payclopie Newraliie —eskaie Suge of He Youth Maury Oldoge iso sequene Objective tis Syheie Aspects of he sell Boa spire ‘thes are dscaned in Herod (972), eapecily pp ‘which te widest as cognition genes, bt highly specie a8 we scores Shitting ros relsted empty, given historia moment we ‘rl hve wo dsngulshscnoag ()prolocve genes, chat, exe [a ‘which wort are cen beng compeed woot being anachronistic (eg, now, the nove ()teognaed genes ta those which ew ‘orks are noebeing composed excep anachronie eals bt wih {host people know how receive (eg om, animal fable) and (6) esd eos ha those tht are onl par of specie, professional knowl ‘Spe (eg 00m the plowophsal le). ean these suggestions jt 5 pl ofthe tt ofqutions scl henry of gente mig ok se “Cite fence te not enoogh, Gere cca has Bee ely concerned with diinguishing genres from each other, with dng ttc oe ese eres by which «given wok an unambigwssy fc ened a belonging to «particu gence This sytenoriened, ‘Sra spprosch aseds to be Complement by a geate clam tht Conweens nlf aoc only with crea fetes of genre, so bat with ‘on-nentia ad cessor oes with characteris thar eer sof conto with aches gente, or with vague terdeeie 4nd reds ‘ot vie in all member of te gee bu peer afenenogh Be ‘ote. Genres can be carted not by a unambigous dscrey proebie for cating tec, but yaar of chats and tae ence, onl some of which maybe peer in agen ex o ‘Mary Louise Peat [Nor surprisingly discussions ofthe shor: story invariably cll upon ce novelas polar of comparison, or ether of contrat. Brander Mathews asic Phlorophy ofthe Short Story (1901) i yp in his eset ‘The ference Berean + Novel sis Novel sone of ength oly aNoveles et Novel Bur the dfereae between a Novel sot Shore ston is dilleeac of kind A toe Shot niey i omerhing ‘tee and something more hans mete sry whih is her A te Shocstor fers to dhe Novel ce inl essential unity of Ipeesog. Ina far mote ect sal pei oe ofthe mad Shs ‘say as ue a4 Novel exon ae it “The novelist ay tale ir ne eh bueno som ro arn shout The miter of Share aaries mare conan compen, 4 sigoroascompeesson, seers For him mot hn for aye ‘ese fall @ more tha the whole Again, he onli ay be ommanpace, he may bend his ber net tothe Pheogeape ‘production of the acta fhe how se ection fel ewe tre content bu the writer of Shore stores tae eign nd ingen, Io compression original, and ingest tou of fantasy so ch he beter (Semmes 965 10-11) Even in lngusges where dhe mime ofthe gence makes no reference to shortness (French onze, Spanish exeno, or instance) comparison with book on the Spanish American shore sory introduces hi sub sh: ‘the novel isthe usual approsch. For instance, Edelweis See Et oeoo consid y somaniccid ata de ua eri im Jnda de conecioiente, experienc 0 siacone onset lord corveltve cena gue cen pops pera cn lide 1 Coen eps, etd comin free aiid isons" ce novel, gua Lake El ccm sve ah ‘onden de asectoes ye telco later ety a ovela un orden smplamene abies an en de sigue erepion sé, el cant: un orden Se pain pris ‘nas aaliament fools (Sern 978 ES) ‘The shore tory i an are consccton to cmmmunicaton of & lime sequen of erent, experienes,o stations szrding Soe lose coreav order whch ernest own peseption triy ‘The shore sor hen, else cont in eos With the ‘lined dacniny”o the oovel sco tolas The ‘The Shor Story shore sory i relatively done ode of tera! section and Corelatins ap the aol wide open ede, ab ote of extenge- ‘eat and sotetc pereetion the shore story anode of pli ‘Soa persed ore sally tbe novel (Wann mie) ‘Shoe story rites epic 98 rely on comparisons withthe novelas ways of Feshing ou eh "ere fac of shocraes, ways of talking about the sore story a8 "something more than a toy which i short." The problem with shortest, of couse, arises frm a sense that literary genses ought (0 be characterized by esthetic properties, ard shortness ses altogetber 0 _quantiave, woo mera a featate tobe given top billing. At the same ‘ime, for reason shall be exploring in a moment, i does sem inescap- ably the crac face Contrasts with the more sabi established sovel ‘pena way to asocate this most pedestrian of properties wth bonside ‘esthetic characterises ike compression, sythess, "4 touch of fans "rank O Connor adopts the sume cocratvecatc in his classic Tbe Lonely Voice, though his comparison stesses diferent characteristics from Matthews and Serr Always i the sor sary hee ii ese of otewed ures svanderngaost he rings iy, serine eet {ymbele gues whom they carenure and eo —Chrt Soc, Mores “A+ rte here i nthe shore ory a is et characte something ne So 20 ate ind in the navel-—an tee sae fhomaa lneliee. The novel can sil adhere the cst Cove of dae sory, af maa san ail wh nes com ‘moni, asin Jane Acre and Trollope cv doc, bu the Shore ory easy ts ery ste remote fom teem — reminded ad nanigens (Conon 1962 19,21) en the lyse dhe othe conspicuous shor ger ‘brought ins. posi- tive poin of eomprison, O'Connor has descebed the shor story 36 the ates hing I know ope poetry Summers 1963; 100) and is words are echoed move eecenely by Rust Hills, who says "The sucess cos: emporary shor story will demoasteate a more harmonious zeaionsip ofall ix aspect than wl any other ltersy ar form, excepring peta Tyee potey” (His 1977: 1, lan Reid suggests four-way comparison "Tait normaly limited scope and subjecive orientation [te shor sor] ‘corresponds to the lic poem a5 the novel des tothe epic (Reid 1977 2), 96 ‘Mary Louse Prat ‘The cet gol ofthe compaitons iscbiosy 0 tings and sep rate the short story from the novel, to establish the former as * ps ere tei de nee, nn ca nee See ial ene item ses petabe presumes porary cinerea ets towels Gere) l a teary ssactae of nas ly, an indepedent reac nthe ‘ast egon of sacri wher i cera irene po 2B ey ie or omen exer sng he fol rain ie) (Characteristics in shoe story eiicism, dhe shore story is coneived as anautonomous gear, andthe nove and irc are broagh nto he pisure ‘Simpy asa thetrial means for highlighting its prrslaries. Nothing our the novels relly needed wo explain the share to: "Now structural has tanghe we thar genres are never completely stunomous, but are alas defined within the gee jstem with espect toeach other. The statements eating he ott story t0 novel aad cc are this not geauitous or simply chetoral, though one understands why defenders of che shoe sory might wont tee them thus. Any temp ed describe «gence ust make reference to other gente. But this doesnot ‘mean relations between gentes hive to be symmetrical. The relation between the novel andthe short story isa bigh asymmetrical one ai |S this asymmety chat I would like to explore here. Theiereltion snot ‘One of oneastng equivalents ina sytem (separate but equal) buta ice: chic one with te novel on top and the shor story dependens. The ‘epeaency has hot coneepisal and historia aspects. The concept ‘spec is chat shortness cannot be a ieense propery of anything, but ‘crus ony eltve o something ese. The historical aspec is tat the novel sands een for some ime, the mote powedul un prestigious ofthe eo genres Hence fats aboat the novel ae necesscy 9 explain facts about the shor star, but dhe sevese isnot so The nove! hat through and through condiconed both the developmen: of he shor sor ad che “rsal Geatnene af the short sory, but the reverse isnot so, Beeween ‘these pited geases, relations of long to short coincide with relations of ‘marked to makes of mort minor, of eter to lesser, even "mare (0 “infanz” There is nothing necessary oF inevitable above sich cote spondence, Content for instunce the relations between poem and Long, oer, whee te longer gene 1 minora nee stig os “The shor Story ” etme gives snl example of bow this asymmetry comes to beat The short story has 8 reputation as 2 mining 0: practice gene, for both “pprencce writers and apprentice readers. And it isi fat wiley wsed ia this way. in schools fr example Sociolinguistially hiswse ofthe peare makes Tot of sense, The shorter a performance, as 2 roe, he les the pevticipans have a stake ini, andthe less is los if i alin ay wey. KReaive othe novel then the shore tory isthe safer arena for he ievi thle fares of apprenticeship Bor only celaie to che novel. Tht itis ‘nly beceuse there are two prose fiction peares, one shor and one long. that one ofthe two singled ov tthe taining ground, and iis Because there st hieatchieal relation between the «Wo thatthe novel can be ‘owed at che gonl of he taining The sre aoalsis applies othe rai- {onal roe ofthe shot tary 98 an expeimenal gene. Ie is only eave forthe (fall fledged”) novel dat the shor try seen 95, <0 used the conrad ab for prelinary esting of devices Before thet release Into the worl! at large. sm, bath the conception of andthe practice of the shor socy ae conditioned by its elation to che novelas the smaller tnd lesser gare 'Now i easy to se why thoughts of eis dependency might be un! come 10 defenders of the mosea) shot: story, setkig lesitimacy for the gente etsas the preoccupation withthe now ia their writings sug- [ess such thoughts were escapeble, and tended to resolve themselves {ito some ineiguag concraictons. Here is Boris Eltenbaum in his ‘ow sic ess "O. Hency ad the Theory of te Shor Story (1925) “The novel ant eshte sory ae forma tcl differen ink bk tl lnberscly oy, fr et reason ate newer found Being Acvelopedsmuleasesy sd wih egal nest in any oe ee fare Phe ove i sce form (beter ts developnent be iecl tom cllson of stores or comple by te ierpor fon of nana mai) ee toy i onan ‘Semen (whic dos ac mea pete) or. The vel etves ftom baton foc rel, he sto} fellore, anecote. The Aliference sone of exer, dileteoe in ponte condoned by the funlomental dnc betmeen bg aod val form. Not cay {pul ers bor lo ida Hectares aliane ether de fowl or the short sry. Ebentaa 1968: 4) Hire at che same tine ashe trie to show that he story is more than & ory whichis shore ienbaum seems ro want to oileveryhing down to the question of length, even differences in bistory such the rade ona association ofthe novel with reavels an the short sory with fll % Mary Louise Pete loc, “Bignes” and “smallness become eines frm which al oer hunch gets de The puro tae ps salle are precisely the eres that honor be conceived of spare ‘Sten, for thy ae relive concepts. Sales a tigre ec inherent pope of tng. the} cen onion te ameing che Whar rad ese diging rd sot flav teams that bind the wo together In Brander Mathews oe te sume tendency. tthe same ime sme” shereessdweplne, eprbing expied in ers of ele gt ning dae of Whee Nowe ance onal wit le, eS iota be Sho try cat Sie lave srt besos teeing waco ge ince» gsr he io Nol gene as ses tempeh ieee whch han ‘elite olde ny slight Saingal antenna ‘he Short, eng edo no ed enna te opr ad the wes of Sheets bus fs eer freon Sn 901) Here ona “esate” eran te co gers posed on the relive fen of length Moroes noe tat ahogh Mees scout witha uci exon of apr-tint lve ererecdog gee Jeger co long texte then ss oe pel formal pa Shelve nce pee ol te ara Ogee. oncontasuy wa ase he ney sd sel conn ot ey wade wa ing ste {eres Bot ley hi wold be even mote eeg poe The conraicions we do fin i thse csc dcanions tsar {ty alae 10 che shor ston’ dependene onthe nore heh fey ‘ehementy deny ion the sfice Tan othe wok of fie ey Apologies, ther defensive ance cn tow be abandon, apd ne Store to recognize the depres (her than eegenteny okt ‘on berwes shore try anf tovel Ins eer hema. ope ‘onsisecgh poinasevich hin on undersandiogl chen ey ince by that reson. The general tgs tn se the nateine stares bee mater mee aan ea a stad chasers abo withthe short sy ate nscaed ith) bease he shorn fs eon lsat os mle Frgmetasy with esp tet acomplia of an ‘The Short Story * snd (because de short sory has ofen eedeplyed materials that were ‘lascelsed bythe novel often because thay were devalued in Terry Ot ‘cil terms The historia hypothesis that aries is thar ashe novel con ‘listed itelf inthe 15th cenory, the shore story tended sift around into postions of "counergenre™ «9 the nove. The emergence ofthe “oe short sor usally locsted somewhere beeween 1995 ad 1953, maybe less the emergence ofa new geate chan the consolidation of nem feltonshipbeewesn genres, “The first four propositions 1 will examine concer the short storys incompleteness” with respec othe novel: Proposition 1. The nove lia lif, the thot sor sella fragment of 3 ‘fe, One ofthe most consistently foend aazetvesracares inthe shor, ‘ory is the one called the "moment-o-eh.” Momene of tath stories focus ons single poine of criss in the life of = ental chance crisis ‘which provokes sce esc reaizacon tha wil Cksge te characters life {oreret A lssicexample is Joyce's" Araby." and indeed all the stores in Dablonrt Nota few cris regard the moment ofeach asthe canonic formof the madera shor story Writing on Melle, Rober Marler sys ‘A fumena lmen ofthe short story en pec his ‘ngs chee ray be an ewaening. i "The Bee othe Jor. eos stay seal, a nA Clea, Well Lghed Pbce ra chnge tae goor onesies exept dering res, Shin Stoh Orne Jones “A White Heron” but a ara! mows exudes of te inscnee of he dplacemen froma sate el {ie imornc tos sae of tele knowledge (ile 197: 429), [Now ra some exten, the moment of ath stands asa mode for the shoet sory the way the lf stands as adel for the novel. These ce no not- Ihative models thee is ao sense in which texs no! confuming to ther fre aural een as onoral ge deviane AC exes we ca talk about the novel correspondence andthe shore story moment oF tath co respondence a cognizable trends or «ypc forms. What I want to sag: {eae is tha there i more than an aaalopzl selationship berween these two see ofcorespondences, hat the idemtfstion of he short story form trith momen af tut plot was eo se degree prescribed bythe pei {rslaton betwen the nove form and de if. The lukingssocintions tke these. ifthe short ston sous falblengeh narratives ean0t nae fatea fell length life ican nara afagment or excep of a ile. And if fom eat fxgmentone can dete things aboot the whole life, then he 100 Mary Louse Pest more novel-ke the more complete, the story is. L.A. G, Stoog voiced this trite some 0 years apo saying thatthe short wory write "may sive us only dhe Key-pieceof mos, around which, f sulfiendy pe ‘ceive, we can seein shadowy outline the completed pattern” (Summers 1963: 42). This ate, {would argue, was conitoned by what lan Watt describes asa premise" impiciein the novel form in general che presse, toe primary convention, that dhe novel fll and authentic report of hhuman experience” (Rehberg 1966: 125) Frank © Connor reads the life as an all-oue "essential form” for nacstive and atthe same time ‘assumes tis form is aa sill othe shor sty Tore shore sory wir there ia uh hing a essa om Becese his ame of rere an ener be the tay fs hue Iie ste orev seleting the point wid bean oponch ie. Inenestandaedcommponton ta he indivi reseas, {he songs mam sve belkin for oew composizons at able hn eo age theory of he ol one ‘Acorn the tary ders fom the nova inh he musth mich mae f+ weiter, mach more of an arts —pechaps Shou ad consicecing the examples have cane, mare a dams {St (OCannoe 1952 21-22) ‘Weiters in bods genzes ave played on the paired correspondences novel/lfe ane shoe story/momeat of tuth Ie was = over opposition the linear sory.ofa life noel tht Virginia Woolf wrote Mrs, Dalowsy, 1 novel length exploration of» one-day fragment of life, ening in 8 ‘moment of eth. n'"The Short Happy Life of Francis Macomber," etm ingway collapses che associations onto eah other: Macomber’ happy ie, ss opposed tis whole lif, lasts only few momen andcoespors to bis moment of erth Short fe, shor story must be kept lee that this lationship of whole to Fragment is nota necessary one To reir tan eater example, vedo nous the poeta ae Incomplete wih expect t long poem It's no opclly secessry for « short geare tobe sen a5 a dependency of, o a fagment of, or» baby brother ofa cocresponding larger gere. Nets ian empirical necessity sting from inherent Linitations on forms The novel form is nt "by its ‘ery nacre” too big fr the moment of tru structure; noe the shot {sony isheretly 09 «mall ella whaleife, leis neither «logical nor an empirical neces, but adhere of erry history, ha the shor sony bras developed along lines ia predetermined by de aovel. By novelise sandads the moment of truth isan especially good fragmento life ro ‘The hort tory 01 arate because i projects self by implcaon backward and forward rouse whole if: Alloy life Thad ben X until oneday Vhappened, tod forte es of my life was Z." Ths, 50 the chinking goes, ee eg ‘mentary shor sony ie nevertheless ble toacheve some ofthe plenitude od wali ofthe nove, “These stme assumptions underie one ofthe spore general common places of shore etary criticism, namely atthe shor try relies on seston ant implication while the novel wes explicit satement. Por festance, HB Bates sy ‘What Hemingway resis whe tis importer al shorestory ‘ets sh en, a obo cee Things on paper mitour tang them at al To mane theo imple fonng oe setece ay mo orm ieee, Brloererigemoton snd amosphresibut deeing wpa ba eset desertion sour hrm, bo an al he shoe Soyer tones (aes 4:17) Ins iil vein, Frank O'Connor puts i. "Creating inthe novel a sense of continuing life i the thing. We don't have cht problem inthe short Story, here you mesely suggest coneinving hfe" Summers 1963: 100). ‘What is of sbour such starement isnot wha hey say about the shore story, but wha they say about che novel—that ides se "iy balan ‘Shoes? thai eenes sense f life by some means other than sugges tion? Sach statements soem ee efforts to asta good light onthe anton ‘hat the short story lacks nteraal space ad achieves completeness ony by referring beyood itll. In the proces, hey imply an almost Ics plore of the aavel ‘Proposition 2, The shore story dels with «single sing, he nove with ‘many abings, This sa postive raranco dhe psiion outlined in. From this poi of view, what is sresed ia defining the genre isthe word ri ileasin Poe's requirement ofa" rng effec coe rough (Pee 1967 146), or Brander Mathew’ dicrom cats shoe story deals with single ‘chanictr,a single event, siagle emotion or the seis of emecions called forth bys single situation” (Summers 1963: 10) 0 Joba Mion Berdan's ‘Selnition ofthe gee as" single dramatic episode, endered credible” to ‘which hea," wordsingle' inthe definition has very tal place. It Uitfereniates the tale’ from the ‘sore soe ab form of literiry art (GBerdan 1952: ). ‘Now chi singlenes argument does correspond to cammon shor sory 102 ‘Mary Louse Pete practice Tis characterise, for example for short stories eo be structured Sround single smalls quests or sovilly denial single incidents Tike pary, en excursion, Tuner «hanging, or sme such pe packaged fragment. And iis certainly commonplace for short stores 10 ently themselves by se being about single persoa—"The Prasin Otic, The Adulterous Woman,” "The Chemist's Wie." “Funes the Memo: {yy and soon Is equally certainly a mite eo eewse tis singleness to citer lestare of she gente. For example, AL Bader hes petcep- tively poined out dat fi common for shor stories juxtapose ewo parallel incidens, 2s happeas, for instance, in Maupassant’ "A Country Excursion” of Monifields "The Garden Paty” though thee cies sug. gest a ingle indent (Summers 1963: 43). ‘Once agin, the point is thatthe aces in both shor story theory sad race om singles of impression, incident and coon isin prt cod tioned bythe nove, against which the short story had loa for what ‘wat smaller ao lesser Beda’ observation cha his singeness rerion does nor apply ¢o the tale is suggestive. The older tle was never @ ‘dependent councergene tothe novel. Whea i became S, i rurned ato the modern shore st Proposition 3. The shor sor ic a omple the nove i the whol bog ‘Ths proposition refer othe tendency for shore tore present thet sehen enal cough hires, simples or exmples tse arg earl eaegory This aother wy la which he sor sy cane ‘leans by ceessng outlive fo some more comple whale One Cramp the dapattelievarerp—"Chraenas in Steunboat Jue tion Joes Goes othe Fa" A Day inthe Couey "Tate Penal Celony"—here she pot i ot je de event temas, bt their ‘sipped epcaliy. This i where the shor story merge wi the seh (Git ene whe meses ncn Then ree tie Gorse pes ie" A County Dacor, "A unger Ari,” "The Man ofthe Clow "The Man Wha Grew Younger” Jone or The Act t ‘Work Then there ate he emblems, stories piven, perp tonal as cxempla of socal or mor eateries "Gre" Misforan,” Plies “Deby” "Wane Someies the generation being iletate! i 2 ype of sory, asin “A Boring Sey "A Chass Soe” “Toe mm rant Story "Stry of Earn or Dyan Troma pin “A Story “Those evetydaynts be eplogies or nthe opening pespap: "TE you {Bncallica sry. There roe beginngorend and ese’ vexy le inthe mde al about «ay tng, by chcban, 0 Pores, “The Shore Story 103 “which, of couse, dhe chasbane never reached and i happened when I ‘was so high and mich sce "Even more common is the sor led by «quotation, whether a punch line, cliché or peovee, which the story is understood co be strc: ing. This forte device of Fannery O'Connor, famous for "A Good ‘Man is Hard to Find” "Good Gouney People,” end "Evecything that Rises Mase Converge” Bu itis «common practice oll ver Picking up Andsew Sally's anthology of Caibbenn shots tories, fr exemple find “Man, In England, Youve jst Gc to Love Animals." "A Fre County “Aay Lawfal lmpedimeat,”Bied of « Feather Here we se the shot story harking back to evo ofits most conspicuous antecedents, ist he ‘exemplum, wih te appended moral promoted tui, and second, the ‘exemplumn’s countergare, the joke with te ponch lin, ‘One seal bt revealing face of shor stores nthe exemplcy vein is hat their characters ate frequently given no propee name, or only + firstname, like Barley the scrivenee, This const sharply with the novelitie tation of characters with fall proper names, especialy in tides, where ce indvidvaliedcharecter ich ot herself proliped as the ittecesf de book The nameless rend in he shoe story ia gene sling one, and of eure, bibs ‘The exemplary or illostraive end in de short story eraces back not just ro the medieval eempium or the bblial parable, butt the we of the shore marativ in eighteenth ceatuy pero ike London's The Spectator and The Rambler where i merges wih dhe esa. the eigh= teenth century, ays HLS. Canby, "dhe novel developed freely. But the short ry by castom, remained « pendent othe esr, was retired the purposes of illustration. In this age, a5 never before or since, twa hound upc the service of didaecsm Ie range wae sll Is success was remnutlable" (Canby 1913: 26), Outside ftom literate, illgerton of ‘course remains one of the main porposes for which eatin i used, as in journalism: and debate. This is one ofthe most conspicuous points of ‘conrct between imaginative Iteracae and oer kinds of disease, Ox Side lteneate, the exemplary naraive ie always Frginen of «larger Aiscourse, never a complete whole. The various kinds of enemplatyshoet stories likewise suggest thee owe isxompleeness an, usalyeheough ‘ils, imply the larger context in which they are to be undesto, Proposition 4, The novel ir whale text, he shore sony i not, Hee I zefer othe very concrete fact eat novel constitues a cmpete bok (or books) while ashore story never does. A shor try i always printed as 104 ‘Mary Louse Peat par ofa lager whole, ether a collection of shoct soe or « magazine, ‘hich is a coleton of various hinds ofrexts: Except i schools, perhaps, Individsl shore tories are ually rend as pat of larger reading expe. rience. Though this is no determining factor, tis ly that che fac of nothing an evtonomovs text enforces te view ofthe short sory as & part of fragment. In any case f oe is looking fr an objective factor or ‘hich wo ang the concepts of langness aad shores, think woul be, atleast in the preset perio, this fact of being or aor being a complete Sole Theis certainly a more uefa ctncion than the eradional able tobe readin one siting Trurn sow eo another Se of fly generalized cheracersics of the shoct sony which, though not acached ro the Hea ofthe shore story a5 ‘ample do ete ts sas inoe ander pense wh espe ‘othe novel 5. Subject mattor Justa it is wed foe formal experimentation, the shore ‘story is often the gene used to icroduce new (ae possibly sige) subject macers ito the leary ana. Bee Hare refess this function, for example, in an 1889 rerospectve on the origin ofthe American short sory. Hare explains that he wrote "The Lack of Rouiag Cassp” because, a editor of Overlnd Monthly, healed find inal the mate- ls submited "anything of that wild and pieareege life which had inspesied him, firyeas 2 erane schoolboy, and aferwaeds, 2 youthful schoolmaster among the mining populstion” (Summers 198%: 8). For Harte the American short story signaled he end ofthe dominance of English models in American ltertue, the endof ana when "the iter ary man had le synpucy with the ough and halt-civied masses who ‘were making hs county's history: fhe used them all it wasas fei 0 bring into greater elie hie hero ofthe uomivakable Engh pera" Ta other parts of the worl! we similarly find the shore sory beg used 10 Inurodace ne sepins o¢ groups ino an established autional erate, ot Jingo an emerging naonal lierture in the process of devolonzation. 1a France, Maupassict through the shoc story bresks Joma taboos on ms ters of sexuality and class, Inthe establishment of ¢ modem national liste in Ireland he shore socy emerges as the central prose Feion genre, throughs which Joyce, OFaherty, OFsolain, O'Connor, Moot, {avin 'nd so may ochers fist document mavera Irish ie. Its role has been compiable inthe emergence ofthe modern Ierzure ofthe Ares cin South Canad, salltomn Ontario ie ws introduced, aan eat ‘sage of decolonization, n the comic stories of Stephen Leacock, and a3 “The Shore Story 105, Inter stage, in the more serious wodk of Alice Munro In Lain Americ, t {ethough the shore story sat Horacio Quiroga inrodces the marginal Jnod society ofthe Argeatne jungle frotier ino ltrstar; in Pert Jose Macin Arguedss fist begins his exploaion of modera indigenous life in the shoct story, before moving to the novel. Its in such regional (ée tracinal with respect to some metropols) writings tha one sees most ‘eal the shore ston’ reo othe sketch, a gee which tas now Sabsumed, and which was, a Ray West destbes it" romantic means of Catching tbe esmosphere of emote places” (Summers 1963: 28). On the ‘ther side, and perhaps moving toward the panoramic potential of the fowel iti also hereon the epioal periphery thatthe shor sory ele Tas been most likely 10 make ite appearance, Of the wnters jst men- tone five wrote place based short story cycles of the Winerberg, Ohio ‘or Dablinersvavieey Goyee, DaDliners; Leacock, Sunsbine Sketches Munco, Lies of Gin and Women; Quimoga, Lar derterados:Argeds, [lapila) To some extent, such cycles do a kind of groundbreaking, esab- lshiog abasic literaryHentiy for region oF sroup, ying ot descrip. tive pacamecers character pes, scal and economic sets, pinepal points of confi for an audience unfair either with the tepion self ‘Sr ith sing that egion n pein But the short sony ce somes s ted to convey a pasar sil perspective to. Speaking of Sherwood “Anderson's we of the ccle in Winerburg, Obi, tan Reid remarks: “Te eight cotiooes ste of 4 none! i debe roid: “Andes said wed sre oreo foe su the pati Sle any othe aerials pope ae lnc, ress, ray. ‘Sati cei is aber i his m-mec tow. Bren momen {ary communion om ces between any ew of the, Wines Br undrgong «bua estan cue Ue wi of henge Bowing rte i, yeh denblaing of orl cats, Dy the ining thinner of stown ile The ‘new oaeoes' of ‘Winearg Ohio can convey wth pecioa an pho he uly thre sper sppesracs (ad ine eal pos) ‘icomnsal wens dan ndeing ctl septenes (eld nara) [Reid's commente alo suggest why she short story cele ater than the rowel might be chosen to porta, for example, the dsouder of frontier tocity,o of traditional suites disinegrating ia the face of moderiza- ‘Obviously, wheter a given eubject mater Is ceatal or peipher 106 Mary Louise Peat established or new in lerotare has a gret dea odo with what i cen- ‘eal and peripheral inthe community tse eeetue great dal 10 so, chat with values, and with ocacconomi, pla and cultural el ines, In some eases a lest, there seem to develop dialectical correspon: ences between minoc or marginal genres snd what aze evsluted 8 ‘minor or margialsojets. So for example, we find the shore sory wed especially often for portzoying chilshood experience (ilstrated by sh assis, a Joyce's “Arby,” Condsar's "End of the Game,” Lawzeac’s Rocking Horse Winner and so maay by Falkner). Novels dealing swith childhood experienc sem celitively rare onthe other hand except for the specialized (marked) cepores ofthe picaresque andthe bik

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