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b.Melville’s Hawthorne b.i.1.Melville pounces on Hawthorne’s story and says that this is the real Hawthorne. Who is this Hawthorne?
b.iii.2.This is a story of Goodman’s problems as symptomatic of the second and third generations of Puritanism, when the inspired visionaries declined. 2.An American Genrea.Poe’s Short Story a.i.“[The novel] cannot be read at one sitting, [and therefore] deprives itself, of course, of the immense force derivable from totality.” a.ii.“We need only here say, upon this topic, that, in almost all classes of composition, the unity of effect or impression is a point of the greatest importance…All high excitements are necessarily transient.” a.iii.“Worldly interests intervening during the pauses of perusal, modify, annul, or counteract, in a greater or less degree, the impressions of the book…during the hour of perusal the soul of the reader is at the writer’s control.”b.America’s Short Story b.i.Americans did not invent short prose narrative, but Americans were the first people to theorize about the short story, particularly Poe. From Poe on, from the early nineteenth century on, “the American short story became a national form.” b.ii.Poe’s theory of the short story has everything to do with the reader’s attention span. b.ii.1.Some might joke that of course this became a national event for us because we have such short attention spans. b.ii.2.We would say, if you want to hit the highest intensity, keep it short, because intensity doesn’t last. b.iii.The heavy question is, why is it that Americans have just this kind of intensity? b.iii.1.Some say that it is because of the lack of the rich, complex social structure found in Austen’s world. c.The Art of a Short Story c.i.Hemingway’s Short Story—in Six Words c.i.1.“For sale. Baby shoes. Never worn.”c.i.2.This is a cross between a short story and poetry. c.ii.“In the whole composition there should be no word written, of which the tendency, direct or indirect, is not to the one pre-established design.”—Poe c.ii.1.What Poe is doing is calling for a method of close reading, a good century before New Criticism began to make close reading the center of its methodology. It is calling to read a short story as closely as we read poetry, because this is how Poe read Hawthorne. d.Poe on Hawthorne d.i.1.