In the month of April, 1880, an article appeared in the "Le Gaulois" announcing the publication of the Soirees de Medan. It was signed by a name as yet unknown: Guy de Maupassant. After a juvenile diatribe against romanticism and a passionate attack on languorous literature, the writer extolled the study of real life, and announced the publication of the new work. It was picturesque and charming. In the quiet of evening, on an island, in the Seine, beneath poplars instead of the Neapolitan cypresses dear to the friends of Boccaccio, amid the continuous murmur of the valley, and no longer to the sound of the Pyrennean streams that murmured a faint accompaniment to the tales of Marguerite's cavaliers, the master and his disciples took turns in narrating some striking or pathetic episode of the war. And the issue, in collaboration, of these tales in one volume, in which the master jostled elbows with his pupils, took on the appearance of a manifesto, the tone of a challenge, or the utterance of a creed. In fact, however, the beginnings had been much more simple, and they had confined themselves, beneath the trees of Medan, to deciding on a general title for the work. Zola had contributed the manuscript of the "Attaque du Moulin," and it was at Maupassant's house that the five young men gave in their contributions. Each one read his story, Maupassant being the last. When he had finished Boule de Suif, with a spontaneous impulse, with an emotion they never forgot, filled with enthusiasm at this revelation, they all rose and, without superfluous words, acclaimed him as a master. He undertook to write the article for the Gaulois and, in cooperation with his friends, he worded it in the terms with which we are familiar, amplifying and embellishing it, yielding to an inborn taste for mystification which his youth rendered excusable. The essential point, he said, is to "unmoor" criticism. It was unmoored. The following day Wolff wrote a polemical dissertation in the Figaro and carried away his colleagues. The volume was a brilliant success, thanks to Boule de Suif. Despite the novelty, the honesty of effort, on the part of all, no mention was made of the other stories. Relegated to the second rank, they passed without notice. From his first battle, Maupassant was master of the field in literature. At once the entire press took him up and said what was appropriate regarding the budding celebrity. Biographers and reporters sought information concerning his life. As it was very simple and perfectly straightforward, they resorted to invention. And thus it is that at the present day Maupassant appears to us like one of those ancient heroes whose origin and death are veiled in mystery. I will not dwell on Guy de Maupassant's younger days. His relatives, his old friends, he himself, here and there in his works, have furnished us in their letters enough valuable revelations and touching remembrances of the years preceding his literary debut. His worthy biographer, H. Edouard Maynial, after collecting intelligently all the writings, condensing and comparing them, has been able to give us some definite information regarding that early period. I will simply recall that he was born on the 5th of August, 1850, near Dieppe, in the castle of Miromesnil which he describes in Une Vie. . . . Maupassant, like Flaubert, was a Norman, through his mother, and through his place of birth he belonged to that strange and adventurous race, whose heroic and long voyages on tramp trading ships he liked to recall. And just as the author of "Education sentimentale" seems to have inherited in the paternal line the shrewd realism of Champagne, so de Maupassant appears to have inherited from his Lorraine ancestors their indestructible discipline and cold lucidity. His childhood was passed at Etretat, his beautiful childhood; it was there that his instincts were awakened in the unfoldment of his prehistoric soul. Years went by in an ecstasy of physical happiness. The delight of running at full speed through fields of gorse, the charm of voyages of discovery in hollows and ravines, games beneath the dark hedges, a passion for going to sea with the fishermen and, on nights when there was no moon, for dreaming on their boats of imaginary voyages. Mme. de Maupassant, who had guided her son's early reading, and had gazed with him at the sublime spectacle of nature, put, off as long as possible the hour of separation. One day, however, she had to take the child to the little seminary at Yvetot. Later, he became a student at the college at Rouen, and became a literary correspondent of Louis Bouilhet. It was at the latter's house on those Sundays in winter when the Norman rain drowned the sound of the bells and dashed against the window panes that the school boy learned to write poetry. Vacation took the rhetorician back to the north of Normandy. Now it was shooting at Saint Julien l'Hospitalier, across fields, bogs, and through the woods. From that time on he sealed his pact with the earth, and those "deep and delicate roots" which attached him to his native soil began to grow. It was of Normandy, broad, fresh and virile, that he would presently demand his inspiration, fervent and eager as a boy's love; it was in her that he would take refuge when, weary of life, he would implore a truce, or when he simply wished to work and revive his energies in old-time joys. It was at this time that was born in him that voluptuous love of the sea, which in later days could alone withdraw him from the world, calm him, console him. In 1870 he lived in the country, then he came to Paris to live; for, the family fortunes having dwindled, he had to look for a position. For several years he was a clerk in the Ministry of Marine, where he turned over musty papers, in the uninteresting company of the clerks of the admiralty. Then he went into the department of Public Instruction, where bureaucratic servility is less intolerable. The daily duties are certainly scarcely more onerous and he had as chiefs, or colleagues, Xavier Charmes and Leon Dierx, Henry Roujon and Rene Billotte, but his office looked out on a beautiful melancholy garden with immense plane trees around which black circles of crows gathered in winter....

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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.