Addresses minimalism as demonstrating a parallel poetic to that of the short story, and analyzes many works of short fiction by Raymond Carver, Amy Hempel and Mary Robison which reflect this relationship. This book traces the evolution of literary minimalism as a by-product of the short story.

“Tense, moving, and hilarious . . . [A] dark jewel of a novel.” —Francine Prose, O, The Oprah Magazine Three husbands have left her. I.R.S. agents are whamming on her door. And her beloved cat has gone missing. She's back and forth between Melanie, her secluded Southern town, and L.A., where she has a weakening grasp on her job as a script doctor. Having been sacked by most of the studios and convinced that her dealings with Hollywood have fractured her personality, Money Breton talks to herself nonstop. She glues and hammers and paints every item in her place. She forges loving inscriptions in all her books. Through it all, there is her darling puzzling daughter who lives close by but seems ever beyond reach, and her son, the damaged victim of a violent crime under police protection in New York. While both her children seem to be losing all their battles, Money tries for ways and reasons to keep battling. Why Did I Ever is a book of piercing intellect and belligerent humor. Since its first publication in 2002 it has had a profound impact, not only on Robison’s devoted following, but on the shape of the contemporary novel itself.

"Robison uses a minimalist discipline and barely ruffled surfaces, but her hidden pictures of childhood and other states of vulnerability are boundless in their emotion." —The Los Angeles Times Book Review The eleven stories in Believe Them, most of which first appeared in The New Yorker, depict Mary Robison's sly, scatty world of plotters, absconders, ponderers, and pontificators. Robison's take on her characters is sharp, cool, astringently ironic, and her language vibrates with edginess and nerve. With what John Barth has called her ""enigmatic superrealism,"" Robison flashes entire lives by us in small, stunning moments—odd, skewed outtakes from real life. Believe Them confirms Mary Robison's place as one of America's most original writers.

The first collection of stories from “one of the great short story writers of our time” (The Philadelphia Inquirer) breathed new life into the American short story, showing us the humor and tragedy that dwell in the hearts of ordinary people. "[Carver's stories] can ... be counted among the masterpieces of American Literature." —The New York Times Book Review "One of the great short story writers of our time—of any time." —The Philadelhpia Inquirer "The whole collection is a knock out. Few writers can match Raymond Carver's entwining style and language." —The Dallas Morning News

Theorizes the development of a minimalist mode in American fiction since 1970, frequently seen to interrogate US postmodernity. Minimalism and Affect in American Literature, 1970-2020 responds to existing studies of literary minimalism by pursuing three original and interrelated objectives. It provides a more inclusive and precise definition of minimalism that enables further inquiry into the mode. It also exposes the presence of minimalism beyond critical demarcations that attempt to limit the aesthetic to a particular school, medium, movement, form or decade. Finally, it argues that writers of American literary minimalism are uniquely privileged in their ability to formalize precarity and threatening cultural currents into the fragile construct that is ordinary life. Building upon theories of affect and the everyday, Minimalism and Affect in American Literature, 1970-2020 analyses minimalist aesthetics within the works of canonical minimalists alongside writers more frequently associated with other movements. Through readings of Ernest Hemingway, Joan Didion, Raymond Carver, Paul Auster and Don DeLillo, among others, and cultural phenomena ranging from sedation to telephony, this book exposes the persistence and political importance of minimalism within American literature from the 20th century into the 21st.

"Mary Robison's short stories are short, subtle, and substantial . . . Her ironic sense of detail bursts from every sentence." —Vogue An Amateur's Guide to the Night stands as a perfect example of Mary Robison's beloved narrative style: purposeful, clipped, and devastating in its restraint. Reflecting on the life of disaffected youth, these stories speculate on how they often manage to remain deferent towards the rest of society—and document how spectacularly they often fail. "These thirteen stories are glimpses from a moving train into lit parlors, dinettes, bedrooms and dens . . . Think of Robison as the engineer, blowing the whistle, calling the stops and starts; invisible when you want to ask her why we're stalled here in the middle of nowhere, between stations, jobs, relationships and decisions." —Los Angeles Times

Praise for the previous edition:Booklist/RBB "Twenty Best Bets for Student Researchers"RUSA/ALA "Outstanding Reference Source"" ... useful ... Recommended for public libraries and undergraduates."