Live (1985), David Leavitt’s FamilyDancing (l984), Richard Ford’sRock Springs (l987), Bobbie AnnMason’s Shiloh and Other Stories(1982), and Lorrie Moore’s Self-Help (l985). Other noteworthy figuresinclude the late Andre Dub<strong>us</strong>,author of Dancing After Hours(l996), and the prolific JohnUpdike, whose recent story collectionsinclude The Afterlife andOther Stories (l994).Today, as is disc<strong>us</strong>sed later inthis chapter, writers with ethnicand global roots are informing thestory genre with non-Western andtribal approaches, and storytellinghas commanded critical and popularattention. The versatile, primaltale is the basis of severalhybridized forms: novels that areconstructed of interlinking shortstories or vignettes, and creativenonfictions that interweave historyand personal history with fiction.The Short Short Story:Sudden or Flash FictionThe short short is a very briefstory, often only one or two pageslong. It is sometimes called “flashfiction” or “sudden fiction” afterthe l986 anthology Sudden Fiction,edited by Robert Shapard andJames Thomas.In short short stories, there is<strong>lit</strong>tle space to develop a character.Rather, the element of plot is central:A crisis occurs, and asketched-in character simply has toreact. Authors deploy clever narrativeor linguistic patterns; in somecases, the short short resembles aRAYMOND CARVERPhoto © Marion Ettlinger /CORBIS OUTLINEprose poem.Supporters claim that shortshorts’ “reduced geographies”mirror postmodern conditions inwhich borders seem closer together.They find elegant simplicity inthese brief fictions. Detractors seeshort shorts as a symptom of culturaldecay, a general loss of readingabi<strong>lit</strong>y, and a limited attentionspan. In any event, short shortshave found a certain niche: Theyare easy to forward in an e-mail,and they lend themselves to electronicdistribution. They make manageablein-class readings and modelsfor writing assignments.DramaContemporary drama minglesrealism with fantasy in postmodernworks that f<strong>us</strong>e the personal andthe po<strong>lit</strong>ical. The exuberant TonyK<strong>us</strong>hner (l956- ) has won acclaimfor his prize-winning Angels inAmerica plays, which vividly renderthe AIDS epidemic and the psychiccost of closeted homosexua<strong>lit</strong>y inthe 1980s and 1990s. Part One:Millennium Approaches (1991) andits companion piece, Part Two:Perestroika (1992), together lastseven hours. Combining comedy,melodrama, po<strong>lit</strong>ical commentary,and special effects, they interweavevario<strong>us</strong> plots and marginalizedcharacters.Women dramatists have attainedparticular success in recent years.Prominent among them is BethHenley (1952- ), from Mississippi,known for her portraits of southernwomen. Henley gained national139
ecognition for her Crimes of the Heart (l978),which was made into a film in l986, a warm playabout three eccentric sisters whose affectionhelps them survive disappointment and despair.Later plays, including The Miss FirecrackerContest (1980), The Wake of Jamey Foster (l982),The Debutante Ball (l985), and The Lucky Spot(l986), explore southern forms of socializing —beauty contests, funerals, coming-out parties,and dance halls.Wendy Wasserstein (1950-2006), from NewYork, wrote early comedies including WhenDinah Shore Ruled the Earth (l975), a parody ofbeauty contests. She is best known for The HeidiChronicles (l988), about a successful womanprofessor who confesses to deep unhappinessand adopts a baby. Wasserstein continuedexploring women’s aspirations in The SistersRosensweig (l991), An American Daughter(1997), and Old Money (2000).Younger dramatists such as African AmericanSuzan-Lori Parks (1964- ) build on the successesof earlier women. Parks, who grew up on vario<strong>us</strong>army bases in the United States and Germany,deals with po<strong>lit</strong>ical issues in experimental workswhose timelessness and ritualism recall Irishbornwriter Samuel Beckett. Her best-knownwork, The America Play (1991), revolves aroundthe assassination of President Abraham Lincolnby John Wilkes Booth. She returns to this themein Topdog/Underdog (2001), which tells the storyof two African-American brothers named Lincolnand Booth and their lifetime of sibling rivalry.REGIONALISMApervasive regionalist sensibi<strong>lit</strong>y has gainedstrength in American <strong>lit</strong>erature in the pasttwo decades. Decentralization expressesthe postmodern U.S. condition, a trend most evidentin fiction writing; no longer does any oneviewpoint or code successfully express thenation. No one city defines artistic movements,as New York City once did. Vital arts communitieshave arisen in many cities, and electronic technologyhas de-centered <strong>lit</strong>erary life.As economic shifts and social change redefineAmerica, a yearning for tradition has set in. Themost s<strong>us</strong>taining and distinctively American mythspartake of the land, and writers are turning to theCivil War South, the Wild West of the rancher, therooted life of the midwestern farmer, the southwesterntribal homeland, and other localizedrealms where the real and the mythic mingle. Ofcourse, more than one region has inspired manywriters; they are included here in regions formativeto their vision or characteristic of theirmature work.The NortheastThe scenic Northeast, region of lengthy winters,dense deciduo<strong>us</strong> forests, and low ruggedmountain chains, was the first English-speakingcolonial area, and it retains the feel of England.Boston, Massach<strong>us</strong>etts, is the cultural powerho<strong>us</strong>e,boasting research institutions and scoresof universities. Many New England writers depictcharacters that continue the Puritan legacy,embodying the middle-class Protestant workethic and progressive commitment to socialreform. In the rural areas, small, independentfarmers struggle to survive in the world of globalmarketing.Novelist Joyce Carol Oates sets many of hergothic works in upstate New York. Richard R<strong>us</strong>so(1949- ), in his appealing Empire Falls (2001),evokes life in a dying mill town in Maine, the statewhere Stephen King (1947- ) locates his popularhorror novels.The bittersweet fictions of Massach<strong>us</strong>ettsbasedSue Miller (1943- ), such as The GoodMother (1986), examine counterculturelifestyles in Cambridge, a city known for culturaland social diversity, intellectual vita<strong>lit</strong>y, and technologicalinnovation. Another writer fromMassach<strong>us</strong>etts, Anita Diamant (1951- ), earnedpopular acclaim with The Red Tent (1997), a fem-140
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special songs for children’s game
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Painting courtesy Smithsonian Insti
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he accepted his lifelong job as a m
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solo trip in 1704 from Boston to Ne
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mon, “Sinners in the Hands of an
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CHAPTER2DEMOCRATIC ORIGINSAND REVOL
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should look out for themselves.Bad
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of a Horse the Rider was lost, bein
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translate Homer. Dwight’s epic wa
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Charles Brockden Brown (1771-1810)A
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ness, and they became legends inthe
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CHAPTER3THE ROMANTIC PERIOD,1820-18
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physical self-discovery. For the Ro
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great detail, is a concrete metapho
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Whitman’s voice electrifies evenm
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anti-slavery poems such as“Ichabo
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CHAPTER4THE ROMANTIC PERIOD,1820-18
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cratic families: “The truth is, t
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emanates from the Book of Genesis i
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of ratiocination, or reasoning. The
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has become legendary:I have ploughe
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looked until recently. The same can
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the weak or vulnerable individual.S
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falling tree, and every lick makes
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Edel calls James’s first, or “i
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who had lived a century earlier. Pr
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the quiet poverty, loneliness, and
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TWO WOMENREGIONAL NOVELISTSNovelist
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CHAPTER6MODERNISM ANDEXPERIMENTATIO
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more technological, and more mechan
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erary and social traditions for the
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(1935), and Parts of a World (1942)
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themes of Greek tragedy set in ther
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F. Scott Fitzgerald(1896-1940)Franc
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where he lived most of his life.Fau
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John Steinbeck (1902-1968)Like Sinc
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ZORA NEALE HURSTONPhoto © Carl Van
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(1928), a winner of the Pulitzer Pr
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TRADITIONALISMTraditional writers i
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ground melody. It was experimentalp
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John Berryman (1914-1972)John Berry
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poetry writing, for women, as a dan
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