{"product_id":"the-british-and-irish-short-story-handbook-isbn-9781444330465","title":"The British and Irish Short Story Handbook","description":"\u003ci\u003eThe British and Irish Short Story Handbook\u003c\/i\u003e guides readers through the development of the short story and the unique critical issues involved in discussions of short fiction. It includes a wide-ranging analysis of non-canonical and non-realist writers as well as the major authors and their works, providing a comprehensive and much-needed appraisal of this area.  \u003cul type=\"disc\"\u003e \u003cli\u003eGuides readers through the development of the short story and critical issues involved in discussions of short fiction\u003c\/li\u003e \u003cli\u003eOffers a detailed discussion of the range of genres in the British and Irish short story\u003c\/li\u003e \u003cli\u003eIncludes extensive analysis of non-canonical writers, such as Hubert Crackanthorpe, Ella D’Arcy, T.F. Powys, A.E. Coppard, Julian Maclaren-Ross, Mollie Panter-Downes, Denton Welch, and Sylvia Townsend Warner\u003c\/li\u003e \u003cli\u003eProvide a wide-ranging discussion of non-realist and experimental short stories\u003c\/li\u003e \u003cli\u003eIncludes a large section on the British short story in the Second World War\u003c\/li\u003e \u003c\/ul\u003e  Acknowledgments xi  \u003cp\u003ePreface xiii\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 1 A Brief History of the British and Irish Short Story 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 2 Issues in Short Story Criticism 33\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eDefinitions 35\u003c\/p\u003e \u003cp\u003eGenre? 40\u003c\/p\u003e \u003cp\u003eCollections 42\u003c\/p\u003e \u003cp\u003eMarginality 48\u003c\/p\u003e \u003cp\u003eCanonicity 51\u003c\/p\u003e \u003cp\u003eInstitutions 54\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 3 Genres 57\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eThe Ghost Short Story, the Supernatural Short Story, and the Gothic Short Story 61\u003c\/p\u003e \u003cp\u003eThe Science Fiction Short Story and the Fantasy Short Story 63\u003c\/p\u003e \u003cp\u003eThe Fable 66\u003c\/p\u003e \u003cp\u003eThe Short Story of Exotic Adventure 68\u003c\/p\u003e \u003cp\u003eThe Detective and Crime Short Story 70\u003c\/p\u003e \u003cp\u003eThe Historical Short Story 72\u003c\/p\u003e \u003cp\u003eThe Realist Social-Psychological Short Story 74\u003c\/p\u003e \u003cp\u003eThe Metafictional\/Experimental Short Story 77\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 4 Key Authors 81\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRichard Aldington (1892-1962) 83\u003c\/p\u003e \u003cp\u003eJ. G. Ballard (1930-2009) 84\u003c\/p\u003e \u003cp\u003eSamuel Beckett (1906-1989) 86\u003c\/p\u003e \u003cp\u003eFrances Bellerby (1899-1975) 88\u003c\/p\u003e \u003cp\u003eJohn Berger (born 1926) 89\u003c\/p\u003e \u003cp\u003eElizabeth Bowen (1899-1973) 91\u003c\/p\u003e \u003cp\u003eAngela Carter (1940-1992) 93\u003c\/p\u003e \u003cp\u003eArthur Conan Doyle (1859-1930) 95\u003c\/p\u003e \u003cp\u003eJoseph Conrad (1857-1924) 97\u003c\/p\u003e \u003cp\u003eA. E. Coppard (1878-1957) 99\u003c\/p\u003e \u003cp\u003eHubert Crackanthorpe (1870-1896) 101\u003c\/p\u003e \u003cp\u003eWalter de la Mare (1873-1956) 103\u003c\/p\u003e \u003cp\u003eHugh Fleetwood (born 1944) 104\u003c\/p\u003e \u003cp\u003eGraham Greene (1904-1991) 106\u003c\/p\u003e \u003cp\u003eThomas Hardy (1840-1928) 108\u003c\/p\u003e \u003cp\u003eHenry James (1843-1916) 110\u003c\/p\u003e \u003cp\u003eGabriel Josipovici (born 1940) 112\u003c\/p\u003e \u003cp\u003eJames Joyce (1882-1941) 114\u003c\/p\u003e \u003cp\u003eJames Kelman (born 1946) 116\u003c\/p\u003e \u003cp\u003eRudyard Kipling (1865-1936) 118\u003c\/p\u003e \u003cp\u003eHanif Kureishi (born 1954) 120\u003c\/p\u003e \u003cp\u003eJames Lasdun (born 1958) 122\u003c\/p\u003e \u003cp\u003eMary Lavin (1912-1996) 124\u003c\/p\u003e \u003cp\u003eD. H. Lawrence (1885-1930) 126\u003c\/p\u003e \u003cp\u003eDoris Lessing (born 1919) 128\u003c\/p\u003e \u003cp\u003eGeorge Mackay Brown (1921-1996) 130\u003c\/p\u003e \u003cp\u003eJulian Maclaren-Ross (1912-1964) 132\u003c\/p\u003e \u003cp\u003eBernard MacLaverty (born 1942) 134\u003c\/p\u003e \u003cp\u003eKatherine Mansfield (1888-1923) 136\u003c\/p\u003e \u003cp\u003eE. A. Markham (1939-2008) 138\u003c\/p\u003e \u003cp\u003eW. Somerset Maugham (1874-1965) 140\u003c\/p\u003e \u003cp\u003eIan McEwan (born 1948) 142\u003c\/p\u003e \u003cp\u003eJohn McGahern (1934-2006) 144\u003c\/p\u003e \u003cp\u003eMichael Moorcock (born 1939) 146\u003c\/p\u003e \u003cp\u003eH. H. Munro (\"Saki\") (1870-1916) 148\u003c\/p\u003e \u003cp\u003eFrank O'Connor (1903-1966) 150\u003c\/p\u003e \u003cp\u003eSean O'Faolain (1900-1991) 152\u003c\/p\u003e \u003cp\u003eMollie Panter-Downes (1906-1997) 154\u003c\/p\u003e \u003cp\u003eT. F. Powys (1875-1953) 156\u003c\/p\u003e \u003cp\u003eV. S. Pritchett (1900-1997) 158\u003c\/p\u003e \u003cp\u003eJean Rhys (1890-1979) 161\u003c\/p\u003e \u003cp\u003eAlan Sillitoe (1928-2010) 163\u003c\/p\u003e \u003cp\u003eMuriel Spark (1918-2006) 165\u003c\/p\u003e \u003cp\u003eRobert Louis Stevenson (1850-1894) 167\u003c\/p\u003e \u003cp\u003eSylvia Townsend Warner (1893-1978) 169\u003c\/p\u003e \u003cp\u003eWilliam Trevor (born 1928) 171\u003c\/p\u003e \u003cp\u003eH. G. Wells (1866-1946) 173\u003c\/p\u003e \u003cp\u003eOscar Wilde (1854-1900) 175\u003c\/p\u003e \u003cp\u003eVirginia Woolf (1882-1941) 176\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart 5 Key Works 177\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003eRobert Louis Stevenson, \"Markheim\" (1885) 179\u003c\/p\u003e \u003cp\u003eOscar Wilde, \"The Canterville Ghost: A Hylo-Idealistic Romance\" (1887) 182\u003c\/p\u003e \u003cp\u003eOscar Wilde, \"The Selfish Giant\" (1888) 186\u003c\/p\u003e \u003cp\u003eArthur Conan Doyle, \"The Adventure of the Engineer's Thumb\" (1892) 188\u003c\/p\u003e \u003cp\u003eHubert Crackanthorpe, \"Modern Melodrama\" (1895) 191\u003c\/p\u003e \u003cp\u003eHenry James, \"The Altar of the Dead\" (1895) 194\u003c\/p\u003e \u003cp\u003eJoseph Conrad, \"Amy Foster\" (1901) 199\u003c\/p\u003e \u003cp\u003eGeorge Moore, \"Home Sickness\" (1903) 203\u003c\/p\u003e \u003cp\u003eH. G. Wells, \"The Valley of Spiders\" (1903) 206\u003c\/p\u003e \u003cp\u003eM. R. James, \"Canon Alberic's Scrap-Book\" (1904) 209\u003c\/p\u003e \u003cp\u003eH. H. Munro (\"Saki\"), \"Sredni Vashtar\" (1911) 212\u003c\/p\u003e \u003cp\u003eJames Joyce, \"An Encounter\" (1914) 214\u003c\/p\u003e \u003cp\u003eD. H. Lawrence, \"Tickets, Please\" (1919) 217\u003c\/p\u003e \u003cp\u003eVirginia Woolf, \"Kew Gardens\" (1919) 221\u003c\/p\u003e \u003cp\u003eKatherine Mansfield, \"The Stranger\" (1921) 224\u003c\/p\u003e \u003cp\u003eA. E. Coppard, \"The Higgler\" (1925) 228\u003c\/p\u003e \u003cp\u003eRudyard Kipling, \"The Gardener\" (1926) 232\u003c\/p\u003e \u003cp\u003eJean Rhys, \"Mannequin\" (1927) 236\u003c\/p\u003e \u003cp\u003eW. Somerset Maugham, \"Footprints in the Jungle\" (1927) 239\u003c\/p\u003e \u003cp\u003eT. F. Powys, \"John Pardy and the Waves\" (1929) 242\u003c\/p\u003e \u003cp\u003eSean O'Faolain, \"Midsummer Night Madness\" (1932) 245\u003c\/p\u003e \u003cp\u003eV. S. Pritchett, \"Handsome Is As Handsome Does\" (1938) 249\u003c\/p\u003e \u003cp\u003eMollie Panter-Downes, \"Goodbye, My Love\" (1941) 254\u003c\/p\u003e \u003cp\u003eAlun Lewis, \"The Last Inspection\" (1942) 257\u003c\/p\u003e \u003cp\u003eMary Lavin, \"At Sallygap\" (1943) 261\u003c\/p\u003e \u003cp\u003eElizabeth Bowen, \"Mysterious Kor\" (1944) 265\u003c\/p\u003e \u003cp\u003eJulian Maclaren-Ross, \"The Tape\" (1944) 268\u003c\/p\u003e \u003cp\u003eDenton Welch, \"Narcissus Bay\" (1948) 271\u003c\/p\u003e \u003cp\u003eFrank O'Connor, \"Eternal Triangle\" (1954) 274\u003c\/p\u003e \u003cp\u003eJ. G. Ballard, \"The Terminal Beach\" (1964) 277\u003c\/p\u003e \u003cp\u003eSamuel Beckett, \"Lessness\" (1970) 282\u003c\/p\u003e \u003cp\u003eGabriel Josipovici, \"Mobius the Stripper: A Topological Exercise\" (1974) 285\u003c\/p\u003e \u003cp\u003eMichael Moorcock, \"Waiting for the End of Time. . .\"(1976) 289\u003c\/p\u003e \u003cp\u003eSylvia Townsend Warner, \"The King of Orkney's Leonardo\" (1976) 292\u003c\/p\u003e \u003cp\u003eWilliam Trevor, \"Another Christmas\" (1978) 295\u003c\/p\u003e \u003cp\u003eAngela Carter, \"The Erl-King\" (1979) 298\u003c\/p\u003e \u003cp\u003eClive Sinclair, \"The Evolution of the Jews\" (1979) 302\u003c\/p\u003e \u003cp\u003eJohn McGahern, \"The Conversion of William Kirkwood\" (1985) 305\u003c\/p\u003e \u003cp\u003eJames Kelman, \"Forgetting to Mention Allende\" (1987) 309\u003c\/p\u003e \u003cp\u003eMary Dorcey, \"A Noise from the Woodshed\" (1989) 312\u003c\/p\u003e \u003cp\u003eJames Lasdun, \"Ate\/Menos or The Miracle\" (1992) 315\u003c\/p\u003e \u003cp\u003eBernard MacLaverty, \"A Silent Retreat\" (1994) 319\u003c\/p\u003e \u003cp\u003eHanif Kureishi, \"We're Not Jews\" (1995) 322\u003c\/p\u003e \u003cp\u003ePatricia Duncker, \"Stalker\" (2003) 325\u003c\/p\u003e \u003cp\u003eChina Mieville, \"Foundation\" (2003) 328\u003c\/p\u003e \u003cp\u003eKey Collections 331\u003c\/p\u003e \u003cp\u003eReferences and Further Reading 338\u003c\/p\u003e \u003cp\u003eIndex 345\u003c\/p\u003e  \u003cp\u003e\"Overall, \u003ci\u003eThe British and Irish Short Story Handbook\u003c\/i\u003e will be a useful tool in the teaching of the short story at undergraduate and postgraduate level. Further, for scholars new to the field of short story criticism it is an accessible yet well-informed entry point.  With the range of resources it offers and the succinct summaries it provides of key issues, topics and debates it collates some of the central tenets of the field. I am sure it will set people off on a fruitful journey into the ever-developing field of the British and Irish short story and short story criticism.\"  (\u003ci\u003eIrish Studies Review\u003c\/i\u003e, 21 November 2013)\u003c\/p\u003e \u003cp\u003e\"\u003ci\u003eThe British and Irish Short Story Handbook\u003c\/i\u003e is an excellent introduction to the short story as a literary form, but is of greater interest to the student than to a general reader, and my reservations on the entry on Warner should not detract from the fact that her inclusion in it draws her closer to mainstream literary fiction as it is taught in schools and universities. And for that we should be grateful.\" (\u003ci\u003eJournal of the Sylvia Townsend Warner Society\u003c\/i\u003e, 1 February 2013)\u003c\/p\u003e \u003cp\u003e\"Summing Up: Recommended.  Lower-level undergraduates and general readers.\" (\u003ci\u003eChoice\u003c\/i\u003e, 1 November 2012)\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eDavid Malcolm\u003c\/b\u003e is Professor of English Literature at the University of Gdañsk. He is co-author (with Cheryl Alexander Malcolm) of \u003ci\u003eJean Rhys: A Study of the Short Fiction\u003c\/i\u003e (1996), and author of \u003ci\u003eUnderstanding Ian McEwan\u003c\/i\u003e (2002), \u003ci\u003eUnderstanding Graham Swift\u003c\/i\u003e (2003) and \u003ci\u003eUnderstanding John McGahern\u003c\/i\u003e (2007). He is co-editor (with Cheryl Alexander Malcolm) of \u003ci\u003eBritish and Irish Short-Fiction Writers, 1945-2000\u003c\/i\u003e, \u003ci\u003eDictionary of Literary Biography Vol. 319\u003c\/i\u003e (2006) and \u003ci\u003eA Companion to the British and Irish Short Story\u003c\/i\u003e (Wiley-Blackwell, 2008).\u003c\/p\u003e  \u003cp\u003e\u003ci\u003eThe British and Irish Short Story Handbook\u003c\/i\u003e guides readers through the development of the short story and the critical issues involved in discussions of short fiction. By including in-depth analysis of non-canonical writers and non-realist writers alongside that of major authors and their works, the handbook offers a comprehensive and much-needed appraisal of this area of literary study.\u003c\/p\u003e \u003cp\u003eThe guide contains a brief history of the development of the form since the 1880s, with discussions of central texts by, amongst others, Rudyard Kipling, H. G. Wells, Jean Rhys, V. S. Pritchett, James Sheridan Le Fanu, and Samuel Beckett. There follows an examination of some central issues in contemporary short-story criticism: definition of the short story; its status as a genre; the collection as an interpretive context; the importance of the motif of marginality; canonicity; and the role of institutions in the form’s development. It continues with a discussion on the range of genres in the twentieth and twenty-first century short story, with particular attention to the interplay of realist and non-realist genres.\u003c\/p\u003e \u003cp\u003eThe book also examines the work of selected major short-story writers. Irish authors considered throughout the book include George Moore, Seán O’Faoláin, John McGahern, William Trevor, and Mary Dorcey; discussion of writers active in mainland Britain includes  Robert Louis Stevenson, Henry James, Katherine Mansfield, Elizabeth Bowen, Somerset Maugham, J. G. Ballard, and Angela Carter.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47990178185445,"sku":"NP9781444330465","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781444330465.jpg?v=1761786803","url":"https:\/\/k12savings.com\/es\/products\/the-british-and-irish-short-story-handbook-isbn-9781444330465","provider":"K12savings","version":"1.0","type":"link"}