This book reappraises the philosophical value of short fiction by Virginia Woolf, Katherine Mansfield and Elizabeth Bowen, examining the stories through the lens of specific everyday objects. Looking at Woolf and armchairs, Mansfield and snack food, and Bowen and fashion accessories, it probes the aesthetic resonance between these stories’ form and contents and also considers the modes of thinking they might promote. Conceiving of their short fiction as intrinsically radical and experimental even within a wider context of modernist innovation, this book shows how these important women writers brought quotidian objects to riotous life, in such a way that tasked readers with reevaluating their everyday existence. Overall, Modernist Short Fiction and Things argues that short fiction epitomises modernist aesthetics, functioning as a resonant source for investigation and complementing and expanding our understanding of modernist epistemology.

The modernist period saw a revolution in fictional practice, most famously in the work of novelists such as Joyce and Woolf. Dominic Head shows that the short story, with its particular stress on literary artifice, was a central site for modernist innovation. Working against a conventional approach and towards a more rigourous and sophisticated theory of the genre, using a framework drawn from Althusser and Bakhtin, he examines the short story's range of formal effects, such as the disunifying function of ellipsis and ambiguity. Separate chapters on Joyce, Woolf and Katherine Mansfield highlight their strategies of formal dissonance, involving a conflict of voices within the narrative. Finally, Dominic Head's challenging conclusion takes the implications of his study into the age of postmodernism.

Taking on the neglected issue of the short story's relationship to literary Modernism, Claire Drewery examines works by Katherine Mansfield, Dorothy Richardson, May Sinclair, and Virginia Woolf. Drewery argues that the short story as a genre is preoccupied with transgressing boundaries, and thus offers an ideal platform from which to examine the Modernist fascination with the liminal. Embodying both liberation and restriction, liminal spaces on the one hand enable challenges to traditional cultural and personal identities, while on the other hand they entail the inevitable negative consequences of occupying the position of the outsider: marginality, psychosis, and death. Mansfield, Richardson, Sinclair, and Woolf all exploit this paradox in their short fiction, which typically explores literal and psychological borderline states that are resistant to rational analysis. Thus, their short stories offered these authors an opportunity to represent the borders of unconsciousness and to articulate meaning while also conveying a sense of that which is unsayable. Through their concern with liminality, Drewery shows, these writers contribute significantly to the Modernist aesthetic that interrogates identity, the construction of the self, and the relationship between the individual and society.

Materiality in Modernist Short Fiction provides a fresh approach to reading material things in modern fiction, accounting for the interplay of the material and the cultural. This volume investigates how Djuna Barnes, Katherine Mansfield, and Jean Rhys use the short story form to evoke the material world as both living and lived, and how the spaces they create for challenging gendered social norms can also be nonanthropocentric spaces for encounters between the human and the nonhuman. Using the unique knowledge created by literary works to spark new conversations between phenomenology, cognitive studies, and new materialisms, complemented with a feminist perspective, this book explores how literature can touch the basic experience of being in, feeling and making sense of a material world that is itself alive and active. From a sensitive reading of how three women used the material world to make their readers see, feel, and question the norms shaping our experience, this volume draws a theory of reading affective materiality that illuminates modernism and the short story form but also reaches beyond them.

A selection of the best and most representative contemporary American short fiction from 1970 to 2020, including such authors as Ursula K. LeGuin, Toni Cade Bambara, Jhumpa Lahiri, Sandra Cisneros, and Ted Chiang, hand-selected by celebrated editor and anthologist John Freeman In the past fifty years, the American short story has changed dramatically. New voices, forms, and mixtures of styles have brought this unique genre a thrilling burst of energy. The Penguin Book of the Modern American Short Story celebrates this avalanche of talent. This rich anthology begins in 1970 and brings together a half century of powerful American short stories from all genres, including—for the first time in a collection of this scale—science fiction, horror, and fantasy, placing writers such as Ursula K. Le Guin, Ken Liu, and Stephen King next to some beloved greats of the literary form: Raymond Carver, Grace Paley, Chimamanda Ngozi Adichie, and Denis Johnson. Culling widely, John Freeman, the former editor of Granta and now editor of his own literary annual, brings forward some astonishing work to be regarded in a new light. Often overlooked tales by Dorothy Allison, Percival Everett, and Charles Johnson will recast the shape and texture of today’s enlarging atmosphere of literary dialogue. Stories by Lauren Groff and Ted Chiang raise the specter of engagement in ecocidal times. Short tales by Tobias Wolff, George Saunders, and Lydia Davis rub shoulders with near novellas by Susan Sontag and Andrew Holleran. This book will be a treasure trove for readers, writers, and teachers alike.

How can the short story help to redefine modernism, postmodernism and their interrelationship? What is the status of the short story in modern literary history? These are the central questions that the essays collected in this volume try to answer from different perspectives through readings of short fiction in English and accounts of the genre’s theorisations. The essays by a group of international scholars tackle theoretical issues that are central in approaches to both “movements” such as periodisation, autonomy, high vs. popular literature, totality vs. fragmentation, surface vs. depth, otherness, representation, and, above all, the subject and its vicissitudes. Because it blends theory-based arguments into the approaches to the short fiction of mainly canonical authors (Joyce, Woolf, Lewis, Ballard, Carter, Rushdie, or Wallace), Modernism, Postmodernism, and the Short Story in English is of interest not only to readers and scholars of the short story, but also to those coming from the fields of literary theory and literary history.

The Cambridge History of the English Short Story is the first comprehensive volume to capture the literary history of the English short story. Charting the origins and generic evolution of the English short story to the present day, and written by international experts in the field, this book covers numerous transnational and historical connections between writers, modes and forms of transmission. Suitable for English literature students and scholars of the English short story generally, it will become a standard work of reference in its field.