American Short Stories
ಈ ಆಡಿಯೊಬುಕ್ ಕುರಿತು
How few years comprise the history of American literature is strikingly suggested by the fact that so much of it can be covered by the reminiscence of a single man of letters. A life beginning in the ’20’s had actual touch in boyhood with Irving, and seized fresh from the press the romances of Cooper. And if the history of American literature be read more exclusively as the history of literary development essentially American, its years are still fewer. “I perceive,” says a foreign visitor in Austin’s story of Joseph Natterstrom, “this is a very young country, but a very old people.” Some critics, indeed, have been so irritated by the spreading of the eagle in larger pretensions as to deprecate entirely the phrase “American literature.” Our literature, they retort, has shown no national, essential difference from the literature of the other peoples using the same language. How these carpers accommodate to their view Thoreau, for instance, is not clear. But waiving other claims, the case might almost be made out from the indigenous growth of one literary form. Our short story, at least, is definitely American.
The significance of the short story as a new form of fiction appears on comparison of the staple product of tales before 1835 with the staple product thereafter. 1835 is the date of Poe’s Berenice. Before it lies a period of experiment, of turning the accepted anecdotes, short romances, historical sketches, toward something vaguely felt after as more workmanlike. This is the period of precocious local magazines, and of that ornament of the marble-topped tables of our grandmothers, the annual. Various in name and in color, the annual gift-books are alike,—externally in profusion of design and gilding, internally in serving up, as staples of their miscellany, poems and tales. Keepsakes they were called generically in England, France, and America; their particular style might beGarland or Gem. The Atlantic Souvenir, earliest in this country, so throve during seven years (1826–1832) as to buy and unite with itself (1833) its chief rival, the Token. The utterly changed taste which smiles at these annuals, as at the clothes of their readers, obscures the fact that they were a medium, not only for the stories of writers forgotten long since, but also for the earlier work of Hawthorne. By 1835 the New England Magazine had survived its infancy, and the Southern Literary Messenger was born with promise. Since then—since the realisation of the definite form in Poe’s Berenice—the short story has been explored and tested to its utmost capacity by almost every American prose-writer of note, and by many without note, as the chief American form of fiction. The great purveyor has been the monthly magazine. Before 1835, then, is a period of experiment with tales; after 1835, a period of the manifold exercise of the short story. The tales of the former have much that is national in matter; the short stories of the latter show nationality also in form.
Nationality, even provinciality, in subject-matter has been too much in demand. The best modern literature knows best that it is heir of all the ages, and that its goal should be, not local peculiarity, but such humanity as passes place and time. Therefore we have heard too much, doubtless, of local color. At any rate, many purveyors of local color in fiction have given us documents rather than stories. Still there was some justice in asking of America the things of America. If the critics who begged us to be American have not always seemed to know clearly what they meant, still they may fairly be interpreted to mean in general something reasonable enough,—namely, that we ought to catch from the breadth and diversity of our new country new inspirations. The world, then, was looking to us, in so far as it looked at all, for the impulse from untrodden and picturesque ways, for a direct transmission of Indians, cataracts, prairies, bayous, and Sierras. Well and good. But, according to our abilities, we were giving the world just that. Years before England decided that our only American writers in this sense were Whitman, Mark Twain, and Bret Harte,—seventy years before the third of this perversely chosen group complacently informed the British public that he was a pioneer only in the sense of making the short story American in scenes and motives,—American writers were exploring their country for fiction north and south, east and west, up and down its history. What we lacked was, not appreciation of our material, but skill in expressing it; not inspiration, but art. We had to wait, not indeed for Bret Harte in the ’60’s, but for Poe in the ’30’s. The material was known and felt, and again and again attempted. Nothing could expose more vividly the fallacy that new material makes new literature. We were at school for our short story; but we had long known what stories we had to tell. In that sense American fiction has always been American.
