Out now, Vol. 12.1 of Short Fiction in Theory and Practice . This first of two special issues, guest-edited by Lucy Dawes Durneen, is dedicated to ‘The Health of the Short Story’. It includes articles, short fiction and reflective texts responding to that broad theme from many directions, including discussions of authors ranging from E. Nesbit to Diane Williams and Kristen Roupenian; and of themes including writing trauma, the maternal body, loneliness and grief. There’s also an in-conversation with the British writer Irenosen Okojie, book reviews, and an afterword from Kirsty Gunn.
Deadline for abstract submissions: 31 May 2022
Modern detective fiction is usually considered to have started with Edgar Allan Poe’s three Dupin short stories and it is certain that the Sherlock Holmes short stories in The Strand magazine brought the new genre to the attention of the world. Other notable writers who helped shape the genre in the early 20th century, including G. K. Chesterton and Melville Davisson Post, stuck to the short form and managed both to innovate and to produce works which are still appreciated today. For Ellery Queen, writing in 1942, it was still possible to state that “the original, the ‘legitimate’ form” of detective fiction “was the short story” and to perceive the detective novel as an inflated short story. According to Catherine Ross Nickerson, “[t]he mechanisms of a detective narrative are more apparent in a short story, since there is less upholstery for hiding the ropes and pulleys. The shorter form also forces writers to make a more clear decision about whether to focus on the puzzle or on the character.”
However, today, some readers, writers and critics seem to prefer the longer form. For P. D. James, this is because novels give “opportunities for even more complicated plotting and more fully developed characters” and because writers “if visited by a powerful idea for an original method of murder, detective or plotline, were unwilling ̶ and indeed still are ̶ to dissipate it on a short story when it could both inspire and form the main interest of a successful novel.” In spite of this, short crime fiction still has enthusiastic readers, as has been proved by Martin Edwards’ and Mike Ashley’s numerous commercially successful anthologies, which combine long forgotten gems unearthed from various archives and stories on a particular theme written by contemporary authors. Two collections of P. D. James’s own short stories, published posthumously, have also sold extremely well; the prolific Joyce Carol Oates comes to mind as well for she regularly brings out collections of “mystery and suspense” stories which are instant successes on both sides of the Atlantic.
Short crime fiction is published in various contexts. Sherlock Holmes’s unexpected resurrection from the Reichenbach Falls is probably the reasons for many authors preferring the open series, with a beginning but no end except the author’s death, like Chesterton’s Father Brown stories. Several authors have however produced closed collections like Agatha Christie’s Labours of Hercules or Chesterton’s The Man Who Knew Too Much. Others, like Ellery Queen, have found the short format ideal for radio or television episodes. For authors who mainly write novels, like Ellis Peters and Kate Charles, a short story may provide a useful prequel or sequel to a series of novels. Equally, while detective novels are almost exclusively concerned with murder, authors frequently use the short story format to write about other, often less serious, crimes as Susan Pettigru King does in her series of stories, Crimes Which the Law Does Not Reach, published in Russell’s Magazine in 1857 and 1858.
We are looking for 20 to 25-minute papers about any aspect of short crime fiction in the English-speaking world including stories published individually in magazines, short story series, cycles or collections, anthologies, radio and television series or short plays. Papers on short crime fiction for young adults or children as well as adults are welcome.
A message from Dr Rodge Glass to all those interested in Alasdair Gray’s short fiction. Follow the link below for further information about this exciting event.
The University of Strathclyde and the Alasdair Gray Archive, in partnership with the Glasgow School of Art, the University of Western Brittany (HCTI), Aix-Marseille Universite (LERMA), Edge Hill University, the University of Lausanne and the Tannahill Fund for the Furtherance of Scottish Literature, are pleased to invite you to the 2nd International Alasdair Gray Conference. The conference will take place from 16th to 17th of June 2022 at the University of Strathclyde.
This two-day interdisciplinary conference will examine the nature, value and legacy of Alasdair Gray’s artistic output, considering his literary work, and his visual practice, and the relationship between the two in Gray’s oeuvre. The conference is entitled “Making Imagined Objects” in tribute to Gray’s own repeated and modest claim that he was a “maker of imagined objects”.
This is the second International Alasdair Gray Conference. The first one, convened by Professor Camille Manfredi, took place in Brest in 2012 and resulted in the critical book, Alasdair Gray: Ink for Worlds (Palgrave Macmillan, 2014), which Gray himself contributed to. This second Alasdair Gray Conference, with some of the same organisers involved, intends to be its continuation a decade later, expanding towards an even greater validation of Alasdair Gray’s plurality of forms.
In Death of a Discipline, Gayatri Spivak mentions the problematic identification of “literature” with the novel form in comparative literature (2005: 123). Her concern with our general blindness to non-hegemonic forms recalls the consternation frequently shown in short fiction criticism toward the enduring novel-centrism of literary studies. This conference aims to bring together scholars with an interest in examining this tension and the different ways in which it may extend to the field of world literature. But our goal is not to look at the short form once again in stark opposition to the novel. Rather, we invite papers that interrogate the marginal spaces of short fiction from other angles and explore the underestimated potential of the short story as a cosmopolitan form, focusing on how it may tell an alternative history of literary circulation.
While brevity may well be an insufficient criterion to define the genre, it is, in the simplest sense, what makes the short story highly portable and translatable. With its ability to easily navigate distinct narrative registers, subgenres, styles, and literary traditions, the short story’s inherently movable nature is reflected in the rapidity and abundance of its publication. It often circulates in both literary and non-specialized sources that are more volatile and transmissible than books: journals, pamphlets, academic and cultural periodicals, and, increasingly, digital outlets such as websites, blogs, online magazines, and social media. It is also typically faster to translate than longer forms like the novel, as well as arguably easier to translate than more semantically and structurally complex forms like poetry. The short story is widely translated and disseminated in anthologies that frequently aim to introduce their readers to lesser-known or previously untranslated works. Additionally, the short story is the object of frequent adaptations to cinema, television and other audiovisual media.
But the short story also travels through language(s) by other means. On one hand, it is a migrant or a traveling form even within its linguistic and geo-cultural world, often appearing in collections that promote the categories of Lusophone, Anglophone, or Francophone short story. On the other hand, its portability also means that short-story writers are often influenced by, and respond to, international peers and predecessors. In this sense, the modernist short story is an apt example of an intrinsically transnational genre in which the influences of Chekhov, Kafka, Mansfield, Borges, and others, cut across national boundaries. Looking into post-modern and contemporary fiction we also have to consider emerging and renewed forms of migrant writing, with an increasing number of multilingual authors writing in a second language and sometimes acting also as translators of their own work.
Considering the diversity that characterizes the many genres of short fiction, the topics we hope to explore in the ENSFR Conference of 2022 through the theme of “Short Fiction as World Literature” include, but are not limited to, the following:
• The short story in motion: translation, adaptation, circulation
• The history of short fiction in connection to literary and social change •
• The short story as a portable form •
• Intermedial and transmedial approaches to short fiction
• Intertextuality and the short story
• The short story as a global and a local form
• Migration and the short story
• Reception theory and the reader’s response to short fiction
• Transnational styles and genres (e.g. novella, flash fiction, short story cycles)
• Multilingualism in short fiction and cross-cultural aesthetics
• The native, foreign, hegemonic, and peripheral languages of the short story
• Short fiction anthologies in world literature
• Creation and the short story: creative nonfiction, crossover fiction, multimedia storytelling.
Proposals of about 300 words for presentations in English, Portuguese, or French, together with a short biographical note (50 words) should be sent to firstname.lastname@example.org by June 3.
We welcome interdisciplinary and creative presentations. Proposals from students and early-career researchers are especially encouraged. A selection of articles based on papers from the conference will be published in Short Fiction in Theory and Practice and in Journal of the Short Story in English.
The 2022 ENSFR Conference will take place in-person at the University of Lisbon School of Arts and Humanities (Faculdade de Letras da Universidade de Lisboa).
Organizers: Ailsa Cox (Edge Hill University) Amândio Reis (Universidade de Lisboa) Elke D’hoker (KU Leuven) Michelle Ryan-Sautour (Université d’Angers)
We are editing a Handbook of the Short Story in the World for Brill as part of the series Handbooks of Literary and Cultural Studies, and we are looking for chapters on some specific topics (see below). We are well aware that the chapters are broad in their scope. Some of these chapters should have a comparativist approach that covers several countries. For that reason, we are looking for potential contributors who have expertise in the field to write a synthetical approach to the topic while at the same time being analytical in the discussion of concrete short stories. Ideally a chapter should offer an overview of the topic, and then discuss three or four authors and/ or stories.
The volume is aimed at non-specialist scholars and graduate (or otherwise advanced) students in literature and cultural studies and it offers balanced accounts, not axe-grinding or reckoning of grievances with other scholars. The chapters aim to provide full balanced accounts at an advanced undergraduate and graduate level, as well as a synthesis of debate, past and current methodologies, and the state of scholarship. As editors, we are seeking purpose-written contributions, book chapters, between 6,000 and 8,000 words, aiming to explain what sources there are, what methodologies and approaches are appropriate in dealing with them, what issues arise and how they have been treated, indicating also the room for disagreement. In conclusion the chapter must be a guide to the graduate student approaching the material for the first time (focused not marginal, orienting, providing contextual information, pointing out leading or provocative questions).
Contributors should send an abstract (300 – 500 words) and a brief CV to both editors by March 15th 2022. Confirmation of acceptance by April 15th 2022. Final versions should be submitted in December 2022.
If you have any query, please do not hesitate to email us.
Santiago Rodríguez Guerrero-Strachan (University of Valladolid) email@example.com and José Ramón Ibáñez Ibáñez (University of Almería) firstname.lastname@example.org
List of units to cover:
The short story: from the Press to the Digital Age
The Folk Tale
The Fantastic/ Horror/ Gothic Short Fiction
The Science Fiction Short Story
History of Short Fiction
The Rise of the Modern Short Story: Poe, Hawthorne, ETA Hoffmann, J.P. Kleist, N. Gogol, Sir Walter Scott
The Realist Short Story: S. Crane, Henry James, G. Flaubert, G. Maupassant, I. Turgenev, T. Hardy, M. Twain, A. Chekhov
Fin-de-siècle Short Story: Gérard de Nerval, R. Kipling, R. L. Stevenson
The Modernist Short Story: James Joyce, V. Woolf, E. Hemingway, W. Faulkner, F.S. Fitzgerald, K. Mansfield, J. Conrad, Ford Maddox Ford
The Diasporic Short Story: Jhumpa Lahiri, Ha Jin, Sefi Atta, Ben Okri
Regions of the Short Story
The Hispanic and Francophone Caribbean Short Story: A. Carpentier, G. García Márquez, S. Ramírez, Marvel Moreno
The Río de la Plata Short Story: J. L. Borges and J. Cortázar
The North American Short Story in Spanish: J.J. Arreola and A. Monterroso
The Spanish Short Story: G.A. Bécquer, E. Pardo Bazán, I. Aldecoa, C. Fernández Cubas
Ethnic Fiction: M. Hong Kingston, H. M. Viramontes, Louise Erdrich
The Anglo-Indian Short Story: M. Raj Anard, R.K. Narajan and Raja Rao.
The Southeast Asian Short Story
The Arabic Short Story
The Short Story in German: F. Kafka, T. Mann, T. Bernhard
Eastern Europe Short Fiction: Sholom Aleichem, Shalom Asch, I. Bashevis Singer, I. Babel
The East Asian Short Story
The Israeli Short Story
LIST OF CHAPTERS:
Theoretical approaches: The short story: from the Press to the Digital Age
The Folk Tale
The Fantastic/ Horror/ Gothic Short Fiction
The Science Fiction Short Story
History of Short Fiction:
The Rise of the Modern Short Story.
The Realist Short Story.
Fin-de-siècle Short Story.
The Modernist Short Story.
The Diasporic Short Story.
Ethnic Short Fiction.
Regions of the Short Story:
The Hispanic and Francophone Caribbean Short Story.
The Río de la Plata Short Story.
The North American Short Story in Spanish.
The Spanish Short Story.
The Anglo-Indian Short Story.
The Arabic Short Story.
The Israeli Short Story.
The Short Story in German.
Eastern European Short Fiction.
The Southeast Asian Short Story.
The East Asian Short Story.
The annual Edge Hill Prize awards £10,000 to the author of what the judges consider to be the best published short-story collection from the UK or Ireland. This year’s shortlist includes previous winner Kevin Barry, plus four debut authors. It also includes two short story cycles. Full list below:
- Paradise Block by Alice Ash (Serpent’s Tail/Profile);
- That Old Country Music by Kevin Barry (Canongate).
- Lifestyle Choice 10mg by Rosemary Jenkinson (Doire Press);
- The Earth, Thy Great Exchequer, Ready Lies by Jo Lloyd (Swift Press);
- Made by Sea and Wood, in Darkness by Alexandros Plasatis (Spuyten Duyvil);
- She-Clown by Hannah Vincent (Myriad Editions).
Small and independent publishers have made a strong showing. There’s a huge amount of variety amongst these collections, ranging from tales of migrant fishermen (Plasatis) to postmodern historical fiction (Lloyd) and a magic realist version of life on a council estate (Ash). The winner will be announced early in 2022 – hopefully at a live event in the UK.
The following call for papers has been selected by the organisers of the 53rd annual Congress of the French Association for American Studies, which will take place at the University of Bordeaux (Michel Montaigne) from 31st May to the 3rd June, 2022. The theme of the congress is “Legitimacy, Authority, Canons”.
American short story writers and the American short story as cultural institution
Maurice Cronin, (University Paris Dauphine)
The short story holds a paradoxical institutional and cultural status in the United States, where it has, by turns, been exalted as the ‘national art form’ and relegated to the role of poor relation to the novel. Since the 1890s, when Brander Matthews designated the “short-story” as a genre in its own right, quite distinct from, and implicitly superior to, the novel, seen as the canonical form of European fiction—a designation that Andrew Levy has described as “an informal declaration of independence from … cultural subservience to European literature” (Levy, 34)—the short story has frequently been accorded an exceptional place in U.S. culture. This is partly attributable to institutional factors specific to the country. The establishment of a modern Anglo-American literary canon to rival the classical canon was a key element in the endeavor to legitimize modern English departments emerging in the early twentieth century in the US. Establishing an American literary tradition was an important part of that endeavor throughout the first half of the century, and the designation of the short story as candidate for the role of “national art form” a notable feature of it (Levy 84).
The genre’s candidacy was subsequently bolstered by the appearance of the New Critical anthology-text books, such as Brooks and Warren’s influential Understanding Fiction (1943, 1959), which gave the short story an important role in high-school and college literature pedagogy, and the emergence of the first creative writing graduate programs, in which the short story was almost immediately adopted as the apprentice genre for aspiring writers of fiction. In the U.S. today, the short story is associated with prestige publications like the New Yorker, and is more than ever at the heart of creative writing pedagogy in graduate workshop programmes. And yet, despite this strong institutional presence—or perhaps even because of it—the short story still gives the impression of a genre caught up in a perpetual quest for legitimacy. This is precisely what makes it a rich subject for exploring the related questions of legitimacy, authority and canons in American studies. The genre’s paradoxical status is attributable partly to the nature of the institutions that have been instrumental to its development in the U.S., and partly to the specific nature of the question of legitimacy in the literary domain more generally. As Patrick Charaudeau shows, legitimacy can generally be defined as a form of social recognition that is always, in some way or another, institutional in nature and origin (Charaudeau, 3). In a sense, literature is itself an institution in the usual sense of the term, but it is also a strange, paradoxically “institutionless institution”, as Jacques Derrida puts it, insofar as “in principle” it “allows one say everything, in every way” (Derrida, 42, 36). As such, what is thereby ‘instituted’ is literary authors’ freedom “to break free of rules, displace them” (37). As a field, then, literature is a relatively weakly institutionalized one. Literary texts do not emerge in a situation in which the rules or norms governing their emission and reception are entirely pre-defined once and for all. As such, they must reflexively negotiate their own emergence, and as it were, legitimize themselves. It follows from this that in the literary domain there is always a potential tension between legitimacy, understood as a form of institutional recognition or sanction, and authority, which in this case must always have a more or less pronounced “charismatic” dimension, insofar as its source is not socially or institutionally visible. This tension between legitimacy and authority is especially relevant to the position of short story writers in the United States precisely because the short story is a genre in which the mediating role of the institutional structures crucial to its development is particularly visible, whether it be in the form of magazine or anthology editors, anthology text books or creative writing workshops. As such institutional factors do not merely surround works, but affect them in their very structure and “content”, this workshop seeks to explore the question of how writers in the U.S. negotiate and renegotiate them within their works. All approaches that help us understand how, since the post-war era, short story writers have managed to construct distinctive literary identities and gain canonical status in a so-called minor genre that has been so heavily institutionalized are welcome.
This question of authors’ negotiation and renegotiation of the cultural and institutional status of the genre is, of course, not just a textual matter. Mode of publication is a particularly crucial institutional factor that all short story writers have to contend with. As Bruno Montfort has argued, what truly distinguishes the short story from the novel is that the former is almost always published alongside other texts. Unlike the novel, its “verbal unit” (the text) very rarely overlaps with its “material unit of publication”, i.e. the book (Montfort 158, my translation). In a culture in which the single-author book still very much remains the prestige publication format for fiction, short stories and short story writers always potentially suffer from a deficit of legitimacy and cultural authority. Given that prior publication in magazines and journals is more than ever a pre-requisite for short-story writers to gain subsequent access to publication in more prestigious formats, contributions that deal with short story writers’ relations with magazine editors—through, for example, examination of author-editor correspondence—are of obvious relevance to this workshop.
The publication of single-author collections would appear to represent a form of consecration for short story writers. Yet whether re-publication of magazine-published stories in single-author collections offers a solution to the deficit of legitimacy and authority that short-story writers have to contend with is moot. Bruno Montfort points out, for instance, that the authority of such collections is more often than not quite restricted, an argument supported by the fact that, to a far greater extent than novels, they are subject to being “dismembered” (Montfort, 165, my translation) and subsequently republished in different formats. The chequered publication history of short story collections in the United States, even those of canonical writers like Hemingway and Faulkner, lends credence to this view. Yet the short story collection as a genre continues to enjoy a degree of presence and cultural prestige in the US today that is unrivalled in most other national literatures. Furthermore, one might wonder whether re-publication of magazine-published stories in single-author collections constitutes a re-assertion of writers’ authority over their texts. Proposals that involve comparative analyses of magazine and book-collection versions of authors’ stories would offer an interesting way of exploring this question.
Re-publication of their stories in short story anthologies may also represent a form of consecration for short story writers. National anthologies are frequently designed to ‘reflect’ a national tradition, or the cultural and social concerns proper to a nation, but in reality they are also instrumental in shaping the traditions they purport to reflect. Editorial selections, and the introductions or prefaces that usually present and justify them to readers, help shape or change readers’ conception of the genre and play an important role in the on-going process of canon formation. The short story anthology genre is no exception, but it has not as yet received the critical attention it undoubtedly deserves (D’hoker, 115). As the tradition of inviting short story writers to edit short story anthologies is very much alive today in the US, contributions that study the prefaces and editorial choices of such anthologies would add to our understanding of the role writers themselves have played in (re)shaping the canon and the short story as a genre.
The roles writers have played as anthology editors show, if it were necessary, that the relationship between writers and the institutions of the literary field is often a symbiotic one. U.S. writers’ widespread involvement as instructors or former students in university creative writing workshops provides further evidence of this. Mark McGurl claims to show that the presence of the workshop system is “everywhere visible … like a watermark” in post-war US prose fiction, manifesting itself most characteristically in the new forms of institutional self-reflexivity that he detects in the texts of novelists and short-story writers of the so-called “program era” (McGurl, 4). However, McGurl’s work is not focused specifically on the short story, and his account of the institutional effects of the workshop system on the genre and on the practice of short story writers is necessarily patchy. Contributions that either build on McGurl’s approach, or pay greater attention than he does to the shaping effects that writers themselves have had on the workshop system through their involvement in it would thus also be very welcome.
500-word (max) proposals for 25-minute conference papers related to the above topics, and a short biographical statement, are to be sent to Maurice Cronin (email@example.com) no later than 17th January, 2022.
Brooks, Cleanth, and Robert Penn Warren. Understanding Fiction, 2nd edition, Prentice-Hall, 1959.
Charaudeau, Patrick. “Le charisme comme condition du leadership politique.” Revue Française des Sciences de l’information et de la communication [en ligne] 7, 2015. Web. 17 November 2021.
Derrida, Jacques. “This Strange Institution Called Literature: An Interview with Jacques Derrida.” Acts of Literature. Ed. Derek Attridge. New York: Routledge, 1991. 33-75.
D’hoker, Elke. “The Short Story Anthology.” Ed. Paul Delaney and Adrian Hunter, The Edinburgh Companion to the Short Story in English. Edinburgh UP, 2019. 108-124.
Levy, Andrew. The Culture and Commerce of the American Short Story. Cambridge UP, 1993.
Matthews, Brander. “The Philosophy of the Short-Story.” Short Story Theories. Ed. Charles E. May. Ohio UP, 1976. 52-59
McGurl, Mark. The Program Era and the Rise of Creative Writing. Harvard UP, 2009.
Montfort, Bruno. “La nouvelle et son mode de publication, le cas américain.” Poétique 90, 1992. 153- 171.
The Other Side of Hope is a new journal celebrating refugee and immigrant communities worldwide. Submission of fiction and poetry is open to refugees, asylum seekers and immigrants only. Non-fiction, reviews and interviews welcome from all, so long as the subject matter sheds light on refugee and immigrant life.
Deadline 31st July 2021.
More information available here
Short Fiction in Theory and Practice 10.2 special issue on Short Fiction as Humble Fiction, guest-edited by Christine Reynier, following the ENSFR conference at Montpellier in October 2019 is now available from Intellect Press. It also includes an interview with Sarah Hall, book reviews by Corinne Bigot and an interview with film-maker Eric Steel on his adaption of David Bezmozgis’ ‘Minyan’ .
Editorial :’The power of short fiction as a humble genre’
‘Humbling the human: Posthuman explorations in contemporary short fiction’
‘The singular effect of brevity: Why Katherine Mansfield’s “The Fly” could not have been a novel’
‘Regionalist short fiction as humble fiction’
‘Tourism, tourists, humility and the humble in E. M. Forster’s “The Story of the Siren” (1920)’
‘Humility and the humble: A reading of the Nepali short stories of Maheshbikram Shah’
‘”The extremely private literary giant”: Alice Munro’s poetics of humility’