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Fiction 100 : An Anthology of Short Fiction,9780131825871
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Fiction 100 : An Anthology of Short Fiction

by
Edition:
10th
ISBN13:

9780131825871

ISBN10:
0131825879
Media:
Paperback
Pub. Date:
1/1/2004
Publisher(s):
Prentice Hall
List Price: $73.00
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Summary

For Introduction to the Short Story, Introduction to Fiction, and Creative Writing: Fiction. A collection of carefully chosen, interesting stories with literary merit, the best-selling text-anthology Fiction 100 continues to offer instructors the flexibility to organize their courses in a format that best suits their pedagogical needs. Intended to ignite students' curiosity, imagination, and intelligence, these selections represent a wide variety of subject matter, theme, literary technique, and style. International in scope, it illustrates the development of short fiction from the early 19th century to the present day, and features 130 traditional and contemporary works organized alphabetically by author.

Table of Contents

Preface vii
A
ALICE ADAMS
Roses, Rhododendron
1(10)
SHERMAN ALEXIE
This Is What It Means to Say Phoenix, Arizona
11(9)
SHERWOOD ANDERSON
I Want to Know Why
20(7)
B
JAMES BALDWIN
Sonny's Blues
27(23)
TONI CADE BAMBARA
The Lesson
50(6)
JOHN BARTH
Lost in the Funhouse
56(17)
DONALD BARTHELME
Cortés and Montezuma
73(6)
RICK BASS
Antlers
79(8)
ANN BEATTIE
Janus
87(4)
SAUL BELLOW
Looking for Mr. Green
91(15)
AMBROSE BIERCE
An Occurrence at Owl Creek Bridge
106(7)
ELIZABETH BOWEN
The Demon Lover
113(5)
KAY BOYLE
Astronomer's Wife
118(5)
T. CORAGHESSAN BOYLE
The Love of My Life
123(13)
RAY BRADBURY
August 2002: Night Meeting
136(6)
C
ALBERT CAMUS
The Guest
142(10)
RAYMOND CARVER
Call If You Need Me
152(8)
Cathedral
160(11)
WILLA CATHER
Paul's Case
171(15)
JOHN CHEEVER
The Country Husband
186(19)
ANTON CHEKHOV
The Darling
205(9)
The Lady with the Dog
214(12)
KATE CHOPIN
The Storm
226(5)
The Story of an Hour
231(3)
AGATHA CHRISTIE
Witness for the Prosecution
234(15)
SANDRA CISNEROS
The House on Mango Street
249(2)
SAMUEL L. CLEMENS
The Celebrated Jumping Frog of Calaveras County
251(5)
The Man That Corrupted Hadleyburg
256(32)
GRACE STONE COATES
Wild Plums
288(5)
LAURIE COLWIN
A Country Wedding
293(8)
JOSEPH CONRAD
Heart of Darkness
301(59)
The Secret Sharer
360(29)
STEPHEN CRANE
The Blue Hotel
389(20)
The Bride Comes to Yellow Sky
409(8)
D
ALICE ELLIOTT DARK
Watch the Animals
417(9)
STEPHEN DOBYNS
Kansas
426(5)
ARTHUR CONAN DOYLE
A Scandal in Bohemia
431(18)
TOM DRURY
Chemistry
449(6)
E
RALPH ELLISON
King of the Bingo Game
455(7)
LOUISE ERDRICH
Mauser
462(7)
F
WILLIAM FAULKNER
Barn Burning
469(14)
A Rose for Emily
483(7)
E SCOTT FITZGERALD
Winter Dreams
490(16)
RICHARD FORD
Reunion
506(6)
MARY WILKINS FREEMAN
A New England Nun
512(9)
CARLOS FUENTES
Aura
521(22)
GABRIEL GARCIA MÁRQUEZ
A Very Old Man with
Enormous Wings
543(6)
CHARLOTTE PERKINS GILMAN
If I Were a Man
549(5)
The Yellow Wall-Paper
554(12)
SUSAN GLASPELL
A Jury of Her Peers
566(15)
GAIL GODWIN
Dream Children
581(10)
NIKOLAI GOGOL
The Overcoat
591(22)
MARY GRIMM
We
613(7)
H
THOMAS HARDY
The Three Strangers
620(17)
BRET HARTE
Tennessee's Partner
637(6)
NATHANIEL HAWTHORNE
My Kinsman, Major Molineux
643(13)
Young Goodman Brown
656(10)
ERNEST HEMINGWAY
Hills Like White Elephants
666(4)
PAM HOUSTON
How to Talk to a Hunter
670(5)
ZORA NEALE HURSTON
Spunk
675(5)
I
WASHINGTON IRVING
The Legend of Sleepy Hollow
680(23)
Rip Van Winkle
703(12)
J
SHIRLEY JACKSON
The Lottery
715(7)
HENRY JAMES
Four Meetings
722(21)
The Real Thing
743(18)
SARAH ORNE JEWETT
A White Heron
761(8)
HA JIN
In the Kindergarten
769(7)
DOROTHY M. JOHNSON
The Man Who Shot Liberty Valance
776(11)
JAMES JOYCE
Araby
787(5)
The Dead
792(31)
K
GARRISON KEILLOR
The Tip-Top Club
823(9)
STEPHEN KING
The Man in the Black Suit
832(16)
W. P. KINSELLA
Shoeless Joe Jackson Comes to Iowa
848(10)
BUDYARD KIPLING
They
858(16)
WILLIAM KITTREDGE
We Are Not in This Together
874(17)
L
D. H. LAWRENCE
The Horse Dealer's Daughter
891(12)
URSULA K. LE GUIN
Horse Camp
903(3)
DORIS LESSING
Wine
906(4)
M
BERNARD MALAMUD
The Magic Barrel
910(13)
KATHERINE MANSFIELD
Her First Ball
923(5)
Miss Brill
928(4)
BOBBIE ANN MASON
Three-Wheeler
932(8)
GUY DE MAUPASSANT
The Necklace
940(7)
Rust
947(5)
HERMAN MELVILLE
Bartleby the Scrivener
952(26)
SUSAN MINOT
Lust
978(7)
LORRIE MOORE
How
985(6)
ALICE MUNRO
Meneseteung
991(15)
A Real Life
1006(17)
H. H. MUNRO ("SAKI")
Sredni Vashtar
1023(4)
O
JOYCE CAROL OATES
Four Summers
1027(13)
Where Are You Going, Where Have You Been?
1040(13)
TIM O'BRIEN
The Things They Carried
1053(14)
FLANNERY O'CONNOR
The Artificial Nigger
1067(15)
A Good Man Is Hard to Find
1082(12)
FRANK O'CONNOR
Guests of the Nation
1094(9)
TILLIE OLSEN
I Stand Here Ironing
1103(6)
P
DOROTHY PARKER
Big Blonde
1109(16)
ROBERT PHILLIPS
Surprise!
1125(4)
EDGAR ALLAN POE
The Cask of Amontillado
1129(6)
The Fall of the House of Usher
1135(14)
KATHERINE ANNE PORTER
The Grave
1149(5)
ANNIE PROULX
The Half-Skinned Steer
1154(12)
R
MARY ROBISON
Coach
1166(11)
S
JO SAPP
Nadine at 35: A Synopsis
1177(2)
IRWIN SHAW
The Girls in Their Summer Dresses
1179(7)
LESLIE MARMÖN SILKO
Yellow Woman
1186(8)
ISAAC BASHEVIS SINGER
Gimpel the Fool
1194(11)
JUNE SPENCE
Missing Women
1205(6)
JOHN STEINBECK
The Chrysanthemums
1211(9)
DANIEL STERN
Brooksmith by Henry James
1220(7)
T
ELIZABETH TALLENT
No One's a Mystery
1227(3)
JAMES THURBER
The Catbird Seat
1230(7)
LEO TOLSTOY
The Death of Ivan Ilych
1237(40)
JUDY TROY
Ten Miles West of Venus
1277(4)
IVAN TURGENEV
The Country Doctor
1281(7)
U
JOHN UPDIKE
A & P
1288(5)
Separating
1293(9)
ALICE WALKER
The Hell with Dying
1302(5)
EUDORA WELTY
Why I Live at the P.O.
1307(9)
DOROTHY WEST
My Baby
1316(6)
LIZA WIELAND
The Columbus School for Girls
1322(9)
JOY WILLIAMS
Taking Care
1331(8)
WILLIAM CARLOS WILLIAMS
The Use of Force
1339(3)
ELIZABETH WINTHROP
The Golden Darters
1342(6)
TOBIAS WOLFF
Powder
1348(3)
Say Yes
1351(4)
RICHARD WRIGHT
The Man Who Was Almost a Man
1355(9)
Z
PATRICIA ZELVER
Love Letters
1364(9)
Biographical Notes 1373(44)
A Short Story Handbook 1417(18)
Chronological Table of
Contents 1435(9)
Credits 1444

Excerpts

This new tenth edition ofFiction 100is a cause for both celebration and reflection. With its publication,Fiction 100has been in print for thirty years--most of a professional lifetime. That is an honor in and of itself--and for that I have my colleagues and my students to thank. It is gratifying to know that others who enjoy reading and teaching the short story as I do continue to find the book interesting and useful.Fiction 100is not, of course, the book it was in 1974. Neither is its editor. Both of us have grown and changed with the decades, as the world of short fiction has grown and changed. Despite the loss of many of the large-circulation magazines that once provided an outlet for short fiction, the short story as a distinctive literary genre is most certainly alive and well and flourishing. As I discover with each passing revision, the quality of the new short fiction from which I have to choose is extraordinarily high. Some of the new selections in each edition come and go. But a surprisingly large number, I find, have extraordinary staying power, in terms of both their artistry and intellectual impact, reflecting the fact that the canon of short fiction has expanded dramatically over the past three decades, making the task of doing it the justice it deserves more and more of a challenge. It is here that my colleagues have played a much larger or more important role than they can possibly imagine. Your feedback has been both wise and generous. For that I thank you. There are also my students, particularly those I have taught in recent years at the University of Houston. You have graciously--and with good humor--allowed me to inflict my enthusiasms on you in the classroom. Please know it is your likes and dislikes, and your perceptive comments about the stories we have read and studied together, that have helped to shape this new edition ofFiction 100,as they have helped shape editions past. One thing that has not changed significantly over the years, however, is the basic operating principles that underlie the selection process. These can be simply stated. First of all I have insisted that the stories included not only have literary merit but be interesting. This is where my students have played such a decisive role. Four decades of teaching the short story to college students have persuaded me that any story, if it is to "work" in the classroom, must engage the curiosity, imagination, and intelligence of students and provide them with a reading experience they find pleasurable. In addition, I have tried to assemble a collection of stories, international in scope, that represent a wide variety of subject matter, theme, literary technique, and style, and that, at the same time, serve to illustrate the development of short fiction--its continuity, durability, and tradition--from its identifiable beginnings in the early years of the nineteenth century to the present. To the extent possible, I have also asked that the stories "speak to one another" by way of theme and technique to make possible classroom discussion that turns on comparison and contrast. Roughly a third of the anthology is reserved for older, well-established stories--the so-called classics that are integral to the historical growth and development of the genre. They are offered without apology, for good stories, no matter how often anthologized, are a source of endless pleasure and discovery that no amount of rereading, classroom discussion, or critical analysis can ever exhaust. On the other hand, I have also tried to make certain thatFiction 100presents a broad selection of newer and contemporary stories to suggest the direction in which short fiction is moving as we slip into and through the first decade of the new millennium. The book's editorial apparatus also has not changed. It has been kept to a minimum to makeFiction 100as usable


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