A comprehensive anthology of the 112 short stories and sketches of the 19th century American author.

Mario Su‡rez will tell you: GarzaÕs Barber Shop is more than razors, scissors, and hair. It is where men, disgruntled at the vice of the rest of the world, come to get things off their chests. The lawbreakers come in to rub elbows with the sheriffÕs deputies. And when zoot-suiters come in for a trim, Garza puts on a bit of zoot talk and "hep-cats with the zootiest of them." A key figure in the foundation of Chicano literature, Mario Su‡rez (1923-1998) was among the first writers to focus not only on Chicano characters but also on the multicultural space in which they live, whether a Tucson barbershop or a Manhattan boxing ring. Many of his stories have received wide acclaim through publication in periodicals and anthologies; this book presents those eleven previously published stories along with eight others from the archive of his unpublished work. It also includes a biographical introduction and a critical analysis of the stories that will broaden readersÕ appreciation for his place in Chicano literature. In most of his stories, Su‡rez sought to portray people he knew from TucsonÕs El Hoyo barrio, a place usually thought of as urban wasteland when it is thought of at all. Su‡rez set out to fictionalize this place of ignored men and women because he believed their human stories were worth telling, and he hoped that through his depictions American literature would recognize their existence. By seeking to record the so-called underside of America, Su‡rez was inspired to pay close attention to peopleÕs mannerisms, language, and aspirations. And by focusing on these barrio characters he also crafted a unique, mild-mannered realism overflowing with humor and pathos. Along with Fray AngŽlico Ch‡vez, Su‡rez stands as arguably the mid-twentieth centuryÕs most important short story writer of Mexican descent. Chicano Sketches reclaims Su‡rez as a major figure of the genre and offers lovers of fine fiction a chance to rediscover this major talent.

In 1925 William Faulkner began his professional writing career in earnest while living in the French Quarter of New Orleans. He had published a volume of poetry (The Marble Faun), had written a few book reviews, and had contributed sketches to the University of Mississippi student newspaper. He had served a stint in the Royal Canadian Air Corps and while working in a New Haven bookstore had become acquainted with the wife of the writer Sherwood Anderson. In his first six months in New Orleans, where the Andersons were living, Faulkner made his initial foray into serious fiction writing. Here in one volume are the pieces he wrote while in the French Quarter. These were published locally in the Times-Picayune and in the Double Dealer. The pieces in New Orleans Sketches broadcast seeds that would take root in later works. In their themes and motifs these sketches and stories foreshadow the intense personal vision and style that would characterize Faulkner's mature fiction. As his sketches take on parallels with Christian liturgy and as they portray such characters as an idiot boy similar to Benjy Compson, they reveal evidence of his early literary sophistication. In praise of New Orleans Sketches, Alfred Kazin wrote in the New York Times Book Review that "the interesting thing for us now, who can see in this book the outline of the writer Faulkner was to become, is that before he had published his first novel he had already determined certain main themes in his work." In his trailblazing introduction, Carvel Collins often called "Faulkner's best-informed critic," illuminates the period when the sketches were written as the time that Faulkner was making the transition from poet to novelist. "For the reader of Faulkner," Paul Engle wrote in the Chicago Tribune, "the book is indispensable. Its brilliant introduction . . . is full both of helpful information . . . and of fine insights." "We gain something more than a glimpse of the mind of a young genius asserting his power against a partially indifferent environment," states the Book Exchange (London). "The long introduction . . . must rank as a major literary contribution to our knowledge of an outstanding writer: perhaps the greatest of our times."

For the first time all 112 of Stephen Crane’s short stories and sketches—including several that have not been included in any previous collection and two that are now in print for the first time—have been brought together in one volume. Critics call Stephen Crane, who is best known for his Civil War novel, The Red Badge of Courage, the first “modern” American writer. Crane was only twenty-eight when he died, but his work had a profound influence on American letters. He helped to kill sentimentality in American writing, giving this country’s fiction renewed strength and dignity as an art form. Crane is considered the American counterpart of such European Nationalists as Zola, Tolstoy, and Flaubert. He refused to bow to the conventions of the day or to popular taste, but wrote about life as he saw it in the closing years of the nineteenth century. And “honest vision of life” was the foundation stone of his artistic aims, and so he sought first-hand experiences and personal involvement in his themes. He lived the life of “The Open Boat” before he wrote the story. His stories of war and conflict, such as “A Mystery of Heroism” and “Virtue in War,” reflect his experiences as a war correspondent. Crane strove for originality in his writing; “his style—tense, darting, abrupt, ironic—blends perfectly with an impressionistic technique to give emotional, psychological, and symbolic significance to a series of astutely observed and richly colored episodes.” The stories and sketches that were a product of his one-man literary revolution are as “modern” today as ever. This collection includes an authoritative introduction by the editor, in which he evaluates the artistic significance of Crane’s work. The stories ad sketches are presented in chronological order and have been carefully edited to ensure that they are in their original form.