This revised edition of Ambrose Bierce's 1892 collection of "Soldiers" and "Civilians" tales fills a void in American literature. A veteran of the Civil War and a journalist known for his integrity and biting satire, Ambrose Bierce was also a lively short-story writer of considerable depth and power. As San Francisco's most famous journalist during the late-nineteenth and early-twentieth centuries, Bierce was hired by William Randolph Hearst to write a column for San Francisco Examiner, where his "Soldiers" and "Civilians" tales first appeared during the late 1880s. By the standards of his day and ours, Bierce's journalism was often brilliantly insightful, viciously libelous, petty, and grand, frequently in the space of a single paragraph. This edition reveals the often compelling artistry of Bierce's original versions of the tales and the intentionally intricate design and scope of the original collection.

Donald T. Blume rejects the view that In the Midst of Life, the second volume of Bierce's collected works, is his most important literary work. Instead, he posits that Bierce's original 1892 collection is his most definitive and authoritative opus.

Tales of Soldiers and Civilians is a collection of short stories written by Ambrose Bierce. Published in 1891, the 26 stories detail the lives of soldiers and civilians during the American Civil War. His famous story "An Occurrence at Owl Creek Bridge" is included in this collection.In the preface to the first edition, Bierce maintained that the book had been "denied existence by the chief publishing houses of the country." He credited the eventual publication of the book to his friend, Mr. E. L. G. Steele, a merchant from San Francisco, who was listed with the 1891 copyright.[3] In 1898, Tales was republished along with other stories by G.P. Putnam's Sons under the title In the Midst of Life.George Sterling, in the introduction to a later (1927) edition, noted that as a result of "obtuse critics and a benighted public," the book failed to become the sensation Bierce had expected. The original publication contained nineteen stories, while those in later publications increased in number; 1898 to 22, and 1909 to 26.The original nineteen stories were retained in the 1898 publication, but were not entirely collectively retained in the 1909 edition.Four of these were transferred by Bierce into his collection Collected Works, Can Such Things Be?In a similar fashion, Bierce moved eight stories into the 1909 version of In the Midst of Life from the 1893 edition of Can Such Things Be?Sixteen of the original stories were initially published in the San Francisco Examiner... Ambrose Gwinnett Bierce (June 24, 1842 - circa 1914) was an American editorialist, journalist, short story writer, fabulist, and satirist. He wrote the short story "An Occurrence at Owl Creek Bridge" and compiled a satirical lexicon, The Devil's Dictionary. His vehemence as a critic, his motto "Nothing matters," and the sardonic view of human nature that informed his work, all earned him the nickname "Bitter Bierce." Despite his reputation as a searing critic, Bierce was known to encourage younger writers, including the poets George Sterling and Herman George Scheffauer and the fiction writer W. C. Morrow. Bierce employed a distinctive style of writing, especially in his stories. His style often embraces an abrupt beginning, dark imagery, vague references to time, limited descriptions, impossible events, and the theme of war. In 1913, Bierce traveled to Mexico to gain first-hand experience of the Mexican Revolution. He was rumored to be traveling with rebel troops, and was not seen again.

A veteran of some of the bloodiest battles of the Civil War, Ambrose Bierce went on to become one of the darkest and most death haunted of American writers, the blackest of black humorists. This volume gathers the most celebrated and significant of Bierce's writings. In the Midst of Life (Tales of Soldiers and Civilians), his collection of short fiction about the Civil War, which includes the masterpieces "An Occurrence at Owl Creek Bridge" and "Chickamauga," is suffused with a fiercely ironic sense of the horror and randomness of war. Can Such Things Be? brings together "The Death of Halpin Frayser," "The Damned Thing," "The Moonlit Road," and other tales of terror that make Bierce the genre's most significant American practitioner between Poe and Lovecraft. The Devil's Dictionary, the brilliant lexicon of subversively cynical definitions on which Bierce worked for decades, displays to the full his corrosive wit. In Bits of Autobiography, the series of memoirs that includes the memorable "What I Saw of Shiloh," he recreates his experiences in the war and its aftermath. The volume is rounded out with a selection of his best uncollected stories. Acclaimed Bierce scholar S. T. Joshi provides detailed notes and a newly researched chronology of Bierce's life and mysterious disappearance. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation’s literary heritage by publishing, and keeping permanently in print, America’s best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

Maupassant and the American Short Story isolates and develops more fully than any previous study the impact of Maupassant's work on the writing of Ambrose Bierce, O. Henry, Kate Chopin, and Henry James. It introduces a new perspective to assess their canons, reviving the importance of many often-ignored stories and, in the cases of Maupassant and O. Henry, reasserting the necessity of studying such writers to understand the history of the genre. An important moment in the history of the short story occurred with the American misreading of Maupassant's use of story structure. At the turn of the century, writers such as Bierce and O. Henry seized upon the surprise-inversion form because Maupassant's translators promoted him as championing it. Only a few writers, such as James and Chopin, both of whom read Maupassant in French, appreciated his deft handling of form more fully. Their vision and the impact of Maupassant upon their fiction was largely ignored by later generations of writers who preferred to associate Maupassant and O. Henry with the &"trick ending&" story. This book details the origins and consequences of this misperception. The book further contributes to the study of the short-story genre. Through an adaptation of Aristotelian concepts, Richard Fusco proposes an original approach to short-story structure, defining and developing seven categories of textual formulas: linear, ironic coda, surprise-inversion, loop, descending helical, contrast, and sinusoidal. As a practitioner of all these forms, Maupassant established his mastery of the genre. By studying his use of form, the book asserts a major reason for his pivotal importance in the historical development of the short story.