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ANALYSIS OF SHORT STORIES

  General Index

  wit & humor
  quotations
  reviews
  analysis:
          novels
          stories
          poems
          plays
          films

irony
metaphor
symbol
archetype
allegory
obj. correlative
iceberg principle
dissociation
individuation
puritan
pastoral
transcendental

Anderson, Sherwood, Winesburg, Ohio (1919): complete linear analysis by story
     “The Book of the Grotesque”: analysis
     “Hands”: analysis by 6 critics
     “Paper Pills”: analysis
     “Mother”: analysis by 2 critics
     “Nobody Knows”: analysis
     “The Thinker”: analysis
     “The Teacher”: analysis
     “An Awakening”: analysis by 2 critics
     “‘Queer’”: analysis by 2 critics
     “The Untold Lie”: analysis by 3 critics
     “Sophistication”: analysis by 3 critics
     “The Egg” (1921): analysis
Barth, John, “Lost in the Funhouse” (1967): commentary by Barth
     Lost in the Funhouse (1968): analysis
Barthelme, Donald, “Paraguay” (1968): commentary by Barthelme
Bierce, Ambrose, “An Occurence at Owl Creek Bridge”: analysis by 4 critics
     “Chickamauga”: analysis
     “The Boarded Window”: analysis
Carver, Raymond, “Neighbors” (1976): analysis
     “Cathedral” (1981): analysis
     “Boxes” (1987): review
Chopin, Kate, “Desiree’s Baby” (1893): analysis by 2 critics
     “A Respectable Woman” (1894): analysis
     “The Story of an Hour” (1894): analysis by 2 critics
     “Athenaise” (1895): analysis
     “The Storm” (1898): analysis
Crane, Stephen, “The Veteran” (1896): analysis
     “The Open Boat” (1897): analysis by section
     “The Blue Hotel” (1898): analysis by section
     “The Bride Comes to Yellow Sky” (1898): analysis of humor
     “The Monster” (1898): analysis by 3 critics
     “The Monster”: fictional film adaptation (2005)
     “An Episode of War” (1899): analysis
Faulkner, William, “That Evening Sun” (1930): analysis by 3 critics
     “A Rose for Emily” (1930): analysis by 23 critics
     “Red Leaves” (1930): analysis by 2 critics
     “Dry September” (1931): analysis by 2 critics
     “A Justice” (1931): analysis by section
     “Raid” (1934): analysis by 2 critics
     “Wash” (1934): analysis by 2 critics
     “An Odor of Verbena” (1938): analysis by section
Fitzgerald, F. Scott, “Winter Dreams” (1922): analysis by 6 critics
     “The Diamond as Big as the Ritz” (1922): analysis by 2 critics
     “The Rich Boy” (1926): analysis by 5 critics
     “Babylon Revisited” (1935): analysis by 2 critics
Freeman, Mary Wilkins, “A Village Singer” (1891): analysis of humor
Gordon, Caroline, "Summer Dust" (1929): analysis by 8 critics
     "The Long Day" (1930): analysis by 6 critics
     "The Ice House" (1931): analysis by 8 critics
     "Mr. Powers" (1931): analysis by 7 critics
     "The Captive" (1932): analysis by 10 critics
     "Old Red" (1933): analysis by 10 critics
     "Tom Rivers" (1933): analysis by 7 critics
     "To Thy Chamber Window, Sweet" (1934): analysis by 4 critics
     "The Last Day in the Field" (1935): analysis by 8 critics
     "One More Time" (1935): analysis by 6 critics
     "The Brilliant Leaves" (1937): analysis by 7 critics
     "The Enemies" (1938): analysis by 4 critics
     "Her Quaint Honor" (1939): analysis by 5 critics
     "The Forest of the South" (1944): analysis by 6 critics
     The Forest of the South (1945), first story collection: analysis by 14 critics
     "The Burning Eyes" (1945): analysis by 2 critics
     "The Olive Garden" (1945): analysis by 6 critics
     "Hear the Nightingale Sing" (1945): analysis by 7 critics
     "All Lovers Love the Spring" (1945): analysis by 6 critics
     "The Petrified Woman" (1947): analysis by 6 critics
     “The Presence” (1948): analysis by 9 critics
     "Emmanuele! Emmanuele!" (1954): analysis by 6 critics
     "One against Thebes" (1961): analysis by 6 critics
     Old Red and Other Stories (1963), second story collection: analysis by 9 critics
      The Collected Stories of Caroline Gordon (1981, 1999): Introduction by Robert Penn Warren
Hardwick, Elizabeth, The New York Stories of Elizabeth Hardwick (2010): Intro by Darryl Pinckney
     The New York Stories of Elizabeth Hardwick: review
Harte, Bret, “Tennessee’s Partner” (1870): analysis of humor
Hawthorne, Nathaniel, “The Maypole of Merry Mount” (1836): analysis
     “The Gentle Boy” (1832): analysis
     “Young Goodman Brown” (1835): analysis
     “Roger Malvin’s Burial” (1832): analysis
     “The Minister’s Black Veil” (1836): analysis
     “The Birthmark” (1843): analysis
     “Rappaccini’s Daughter” (1844): analysis
     “Rappaccini’s Daughter” (2004): fictional film adaptation
     “The Artist of the Beautiful” (1844): analysis
     “Main Street” (1849): analysis
Hemingway, Ernest, “Up in Michigan” (1921): analysis
     “Up in Michigan”: fictional film adaptation
     “On the Quai at Smyrna” (1925): analysis by 3 critics
     “Indian Camp” (1925): analysis
     “Indian Camp”: fictional film adaptation
     “The Doctor and the Doctor’s Wife” (1925): analysis by 5 critics
     “The End of Something” (1925): analysis
     “The Three-Day Blow” (1925): analysis by 3 critics
     “The Battler” (1925): analysis by 2 critics
     “A Very Short Story” (1925): analysis by 4 critics
     “Soldier’s Home” (1925): analysis
     “The Revolutionist” (1925): analysis by 2 critics
     “Mr. and Mrs. Elliot” (1925): analysis by 4 critics
     “Cat in the Rain” (1925): analysis
     “Cat in the Rain”: fictional film adaptation
     “Out of Season” (1925): analysis by 4 critics
     “Cross-Country Snow” (1925): analysis by 4 critics
     “My Old Man” (1925): analysis by 4 critics
     “Big Two-Hearted River” (1925): analysis
     10 critics discuss “Big Two-Hearted River”
     “L’Envoi” (1925): analysis
     In Our Time (1925): overall analysis of collection
     “Alpine Idyll” (1926): analysis
     “The Killers” (1927): analysis
     “A Clean, Well-Lighted Place” (1927): analysis
     “A Clean, Well-Lighted Place”: fictional film adaptation
     10 critics discuss “a Clean, Well-Lighted Place”
     “Hills Like White Elephants” (1927): analysis
     “Hills Like White Elephants”: fictional film adaptation
     “Ten Indians” (1927): analysis
     “The Sea Change” (1931): analysis
     “The Gambler, the Nun, and the Radio” (1933): analysis
     “The Light of the World” (1933): analysis
     “The Wine of Wyoming” (1933): analysis
     “The Short Happy Life of Francis Macomber” (1936): analysis by 8 critics
     “The Snows of Kilimanjaro” (1936): analysis by 2 critics
     “The Capital of the World” (1936): analysis
     “African Betrayal” (1986): analysis by 5 critics
Irving, Washington, “Rip Van Winkle” (1819): analysis
     “The Legend of Sleep Hollow” (1819): analysis
     “The Wife” (1819): analysis
Jackson, Shirley, “The Lottery” (1949): analysis
James, Henry, “The Beast in the Jungle” (1903): analysis by section
     “The Jolly Corner” (1908): analysis by 11 critics
Jewett, Sarah Orne, “A White Heron” (1886): analysis
     “A White Heron”: fictional film adaptation (2005)
Joyce, James, “Clay” (1914): analysis
     “The Dead” film adaptation (1987): analysis
Lewis, Sinclair, “Virga Vay & Allen Cedar” (1945), text: humor
March, William, “The Little Wife” (1930): analysis
Mason, Bobbie Ann, Shiloh and Other Stories (1982): review
McCarthy, Mary, The Company She Keeps, collection (1942): 18 critics
     "'Cruel and Barbarous Treatment'" (1939): analysis by 7 critics
     "Rogue's Gallery" (1942): analysis by 6 critics
     "The Man in the Brooks Brothers Shirt" (1941): analysis by 12 critics
     "The Genial Host" (1942): analysis by 5 critics
     "Portrait of the Intellectual as a Yale Man" (1942): analysis by 7 critics
     "Ghostly Father, I Confess," collection (1942): analysis by 9 critics
     Cast a Cold Eye, collection (1950): analysis by 4 critics
     "The Appalachian Mountain Revolution" (1981): analysis by 3 critics
McPherson, James Alan, Elbow Room (1977): commentary
Melville, Herman, “The Lightning-Rod Man” (1853): analysis by 3 critics
     “Bartleby the Scrivener” (1855): analysis by 10 critics
     “The Paradise of Bachelors and the Tartarus of Maids” (1855): analysis by 3 critics
     “I and My Chimney” (1856): analysis by 2 critics
O’Brien, Tim, “Landing Zone Bravo” (1979): analysis
O’Connor, Flannery, “A Late Encounter with the Enemy” (1953): analysis of humor by 9 critics
     “A Good Man is Hard to Find” (1953): analysis by 30 critics
     “The River” (1953): analysis by 9 critics
     “The Displaced Person” (1954): analysis by 21 critics
     “The Artificial Nigger” (1955): analysis by 20 critics
     “Good Country People” (1955): analysis by 14 critics
     “Greenleaf” (1956): analysis by 13 critics
     “The Enduring Chill” (1958): analysis by 11 critics
     “The Comforts of Home” (1960): analysis by 11 critics
     “Everything That Rises Must Converge” (1961): analysis by 16 critics
     “The Lame Shall Enter First” (1962): analysis by 17 critics
     “Revelation” (1964), text: humor
     “Revelation”: analysis of humor by 18 critics
     “Parker’s Back” (1964): analysis by 20 critics
     “Judgment Day” (1964): analysis by 12 critics
O’Hara, John, “Over the River and through the Wood” (1934): analysis
Paulson, A. B., “University Life” (1997): analysis
     “University Life,” excerpt: humor
Poe, Edgar Allan, “Ligeia” (1835): analysis
     “William Wilson” (1840): analysis
     “The Fall of the House of Usher” (1840): analysis by 2 critics
     “The Murders in the Rue Morgue” (1841): commentary
     “Never Bet the Devil Your Head” (1841), excerpt: humor
     “The Masque of the Red Death” (1841): analysis
     “The Black Cat” (1843): analysis by 2 critics
     “The Cask of Amontillado” (1846): analysis
Porter, Katherine Anne, “Maria Concepcion” (1922): analysis by 20 critics
     “The Martyr” (1923): analysis by 9 critics
     “Virgin Violeta” (1924): analysis by 9 critics
     “Magic” (1928): analysis by 9 critics
     “Rope” (1928): analysis by 11 critics
     “Theft” (1928): analysis by 13 critics
     “The Jilting of Granny Weatherall” (1929): analysis by 17 critics
     “Flowering Judas” (1930): analysis by 30 critics
     “Flowering Judas”: fictional film adaptation (2005)
     “He” (1930): analysis by 14 critics
     “The Cracked Looking-Glass” (1932): analysis by 14 critics
     “The Grave” (1934): analysis by 23 critics
     “Hacienda” (1932, 1934): analysis by 15 critics
     “That Tree” (1934): analysis by 10 critics
     “The Circus” (1935): analysis by 16 critics
     “The Old Order” (1939): analysis by 15 critics
     “The Downward Path to Wisdom” (1939): analysis by 9 critics
     “A Day’s Work” (1940): analysis by 12 critics
     “The Leaning Tower” (1941): analysis by 21 critics
     “Holiday” (1960): analysis by 14 critics
     “The Fig Tree” (1960): analysis by 10 critics
Pynchon, Thomas, “Entropy” (1960): analysis by 13 critics
Roberts, Elizabeth Madox (1941) "The Haunted Palace" (1941): analysis by 2 critics
     "The Betrothed" (1941): analysis by 2 critics
Salinger, J. D., “Uncle Wiggley in Connecticut” (1948): analysis
     “For Esme—with Love and Squalor” (1950): analysis by 9 critics
Sontag, Susan, “The Way We Live Now” (1987): review
Stafford, Jean, "The Darkening Moon" (1944): analysis by 4 critics
     "The Home Front" (1945): analysis by 4 critics
     "Between the Porch and the Altar" (1945): analysis by 4 critics
     "The Captain's Gift" (1946): analysis by 3 critics
     "The Interior Castle" (1946): analysis by 8 critics
     "The Bleeding Heart" (1948): analysis by 5 critics
     "A Summer Day" (1948): analysis by 3 critics
     "Children Are Bored on Sunday" (1948): analysis by 5 critics
     "Polite Conversation" (1949): analysis by 5 critics
     "The Maiden" (1950): analysis by 3 critics
     "A Country Love Story" (1950): analysis by 7 critics
     "The Echo and the Nemesis" (1950): analysis by 5 critics
     "The Healthiest Girl in Town" (1951): analysis by 5 critics
     "I Love Someone" (1952): analysis by 4 critics
     "Life Is No Abyss" (1952): analysis by 5 critics
     "The Violet Rock" (1952): analysis by 3 critics
     "The Liberation" (1953): analysis by 4 critics
     "In the Zoo" (1953): analysis by 4 critics
     "Bad Characters" (1954): analysis by 5 critics
     "Beatrice Trueblood's Story" (1955): analysis by 5 critics
     "Maggie Meriwether's Rich Experience" (1955): analysis by 5 critics
     "Caveat Emptor" (1956): analysis by 4 critics
     "A Reading Problem" (1956): analysis by 4 critics
     "The Mountain Day" (1956): analysis by 4 critics
     "The End of a Career" (1956): analysis by 5 critics
     "A Reasonable Facsimile" (1957): analysis by 4 critics
     "The Children's Game" (1958): analysis by 3 critics
     "The Tea Time of Stouthearted Ladies" (1964): analysis by 5 critics
     "The Philosophy Lesson" (1968): analysis by 5 critics
     The Collected Stories of Jean Stafford (1969), Pulitzer Prize (1970): analysis by 4 critics
     "An Influx of Poets" (1978): analysis by 5 critics
Steele, Wilbur Daniel, “The Man Who Saw through Heaven” (1927): analysis
Stegner, Wallace, “The Volcano” (1944): analysis by 2 critics
     “The Women on the Wall” (1949): analysis by 2 critics
     “The Women on the Wall”: commentary by Stegner
     “The Blue-Winged Teal” (1950): analysis by 2 critics
     “The Sweetness of the Twisted Apples” (1950): analysis by 2 critics
     “The Traveler” (1951): analysis
     “Field Guide to the Western Birds” (1956): analysis by 2 critics
     Historical survey of the American short story (1957)
Steinbeck, John, “The Chrysanthemums” (1938): analysis
     “The Snake” (1938): analysis
     “Flight” (1938): analysis
Taylor, Peter, "The Old Forest" (1979): analysis by 2 critics
Twain, Mark, “The Man that Corrupted Hadleyburg” (1899): analysis
Updike, John, “Pigeon Feathers” (1962): analysis
     “Leaves” (1964): commentary by Updike
     “Afterlife” (1987): review
Walker, Alice, “To Hell with Dying” (1967): analysis
Welty, Eudora, “A Memory” (1941): analysis by 5 critics
     “Powerhouse” (1941): analysis by 2 critics
     “Petrified Man” (1941): analysis by 5 critics
     “A Piece of News” (1941): analysis by 2 critics
     “A Curtain of Green” (1941): analysis by 2 critics
     “A Worn Path” (1941): analysis by 5 critics
     “Why I Live at the P.O.” (1941): analysis by 5 critics
     “The Wanderers” (1949): analysis
     “The Demonstrators” (1968): analysis
Wharton, Edith, “Roman Fever” (1934): analysis