The Yearbook Of Short Plays
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The Yearbook Of Short Plays
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Author :
language : en
Publisher:
Release Date : 1938
The Yearbook Of Short Plays written by and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1938 with categories.
The Yearbook Of Short Plays
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Author : Claude Merton Wise
language : en
Publisher:
Release Date : 1940
The Yearbook Of Short Plays written by Claude Merton Wise and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1940 with American drama categories.
New non-royalty plays designed for study or production.
The Best Short Plays 1987
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Author : Ramon Delgado
language : en
Publisher:
Release Date : 1987
The Best Short Plays 1987 written by Ramon Delgado and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1987 with Drama categories.
The Best Short Stories Of 1918 And The Yearbook Of The American Short Story
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Author : Harrison Rhodes
language : en
Publisher: Good Press
Release Date : 2023-09-18
The Best Short Stories Of 1918 And The Yearbook Of The American Short Story written by Harrison Rhodes and has been published by Good Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2023-09-18 with Fiction categories.
"The Best Short Stories of 1918, and the Yearbook of the American Short Story" by Harrison Rhodes, Sinclair Lewis, Charles Caldwell Dobie, Julian Street, Achmed Abdullah, George Gilbert, Mary Heaton Vorse, Gordon Hall Gerould, Katharine Holland Brown, Edwina Stanton Babcock, Wilbur Daniel Steele, Mary Mitchell Freedley, G. Humphrey, Arthur Johnson, Burton Kline, Katharine Prescott Moseley, William Dudly, Fleta Campbell Springer, Edward C. Venable, Frances Gilchrist Wood. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
The Best Short Stories Of 1917 And The Yearbook Of The American Short Story
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Author : Edward O'Brien
language : en
Publisher: Litres
Release Date : 2019-05-08
The Best Short Stories Of 1917 And The Yearbook Of The American Short Story written by Edward O'Brien and has been published by Litres this book supported file pdf, txt, epub, kindle and other format this book has been release on 2019-05-08 with Fiction categories.
The Best Short Stories Of 1921 And The Yearbook Of The American Short Story
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Author : Various
language : en
Publisher: BEYOND BOOKS HUB
Release Date : 2023-07-27
The Best Short Stories Of 1921 And The Yearbook Of The American Short Story written by Various and has been published by BEYOND BOOKS HUB this book supported file pdf, txt, epub, kindle and other format this book has been release on 2023-07-27 with Art categories.
I was talking the other day to Alfred Coppard, who has steered more successfully than most English story writers away from the Scylla and Charybdis of the modern artist. He told me that he had been reading several new novels and volumes of short stories by contemporary American writers with that awakened interest in the civilization we are framing which is so noticeable among English writers during the past three years. He asked me a remarkable question, and the answer which I gave him suggested certain contrasts which seemed to me of basic importance for us all. He said: “I have been reading books by Sherwood Anderson, Waldo Frank and Ben Hecht and Konrad Bercovici and Joseph Hergesheimer, and I can see that they are important books, but I feel that the essential point to which all this newly awakened literary consciousness is tending has somehow subtly eluded me. American and English writers both use the same language, and so do Scotch and Irish writers, but I am not puzzled when I read Scotch and Irish books as I am when I read these new American books. Why is it?” I had to think for a moment, and then the obvious answer occurred to me. I told him that I thought the reason for his moderate bewilderment was due to the fact that the Englishman or the Scotchman or the Irishman living at home was writing out of a background of racial memory and established tradition which was very much all of one piece, and that all such an artist's unspoken implications and subtleties could be easily taken for granted by his readers, and more or less thoroughly understood, because they were elements in harmony with a tolerably fixed and ordered world. I added that this was more or less true of the American writer up to a date roughly coinciding with that of the Chicago World's Fair in 1892. During the thirty years more or less which have elapsed since that date, there has been an ever widening seething maelstrom of cross currents thrusting into more and more powerful conflict from year to year the contributory elements brought to a new potential American culture by the dynamic creative energies, physical and spiritual, of many races. My suggestion to Mr. Coppard was that gradually the Anglo-Saxon, to take the most readily understandable instance, was beginning to absorb large tracts of many other racial fields of memory, and to share the experience of Scandinavian and Russian and German and Italian, of Polish and Irish and African and Asian members of the body politic, and that all these widening tracts of remembered racial experience interacting upon one another under the tremendous pressure of our nervous, keen, and eager industrial civilization had set up a new chaos in many creative minds. I said that Mr. Anderson and the others, half consciously and half unconsciously, were trying to create worlds out of each separate chaos, living dangerously, as Nietzsche advised, and fusing their conceptions at a certain calculated temperature in artistic crucibles of their own devising. Mr. Coppard said that he quite saw that, but added that the particular meaning in each case more or less escaped him. And then I ventured to suggest that these meanings were more important for Americans at the present stage than for Europeans, because American minds would grasp readily at suggestions that harmonized with their own spiritual pasts, and seize instinctive relations and congruities which had previously escaped them in their experience, and so begin to formulate from these books new intuitive laws. I suggested, moreover, that from the point of view of the great artist these books were all more or less magnificent failures which were creating, little by little, out of the shock of conflict an ultimate harmony, out of which the great book for which we are all waiting in America might come ten years from now, or five years, or even tomorrow. To this he replied that he felt I had supplied the clue which had baffled him, and asked me if I did not discover a chaos of a different sort in English life and literature since the armistice. I agreed that I did discover such a chaos, but that it seemed to me a chaos which was an end rather than a beginning, a chaos in which the Tower of Babel had fallen, and men had come to babble with more and more complete dissociation of ideas, or else, on the other hand, were clinging desperately to such literary and social traditions as had been left, while their work froze into a new Augustanism comparable to that of the early years of the eighteenth century. Next year, in conjunction with John Cournos, I shall begin in a parallel series of volumes with the present series, to present my annual study of the English case. Meanwhile, for the present, I deal once more with that American chaos in which I have unbounded and ultimate faith. From now on I should like to take as my motto almost the last paragraph written by Walt Whitman before he died: “The Highest said: Don't let us begin so low—isn't our range too coarse—too gross?—The Soul answer'd: No, not when we consider what it is all for—the end involved in Time and Space.” Or, as the old Dutch flour-miller put it more briefly: “I never bother myself what road the folks come—I only want good wheat and rye.” To repeat what I have said in these pages in previous years, for the benefit of the reader as yet unacquainted with my standards and principles of selection, I shall point out that I have set myself the task of disengaging the essential human qualities in our contemporary fiction which, when chronicled conscientiously by our literary artists, may fairly be called a criticism of life. I am not at all interested in formulæ, and organized criticism at its best would be nothing more than dead criticism, as all dogmatic interpretation of life is always dead. What has interested me, to the exclusion of other things, is the fresh, living current which flows through the best American work, and the psychological and imaginative reality which American writers have conferred upon it. No substance is of importance in fiction, unless it is organic substance, that is to say, substance in which the pulse of life is beating. Inorganic fiction has been our curse in the past, and bids fair to remain so, unless we exercise much greater artistic discrimination than we display at present. The present record covers the period from October 1920, to September 1921, inclusive. During this period, I have sought to select from the stories published in American magazines those which have rendered life imaginatively in organic substance and artistic form. Substance is something achieved by the artist in every act of creation, rather than something already present, and accordingly a fact or group of facts in a story only attain substantial embodiment when the artist's power of compelling imaginative persuasion transforms them into a living truth. The first test of a short story, therefore, in any qualitative analysis is to report upon how vitally compelling the writer makes his selected facts or incidents. This test may be conveniently called the test of substance. But a second test is necessary if the story is to take rank above other stories. The true artist will seek to shape this living substance into the most beautiful and satisfying form, by skilful selection and arrangement of his materials, and by the most direct and appealing presentation of it in portrayal and characterization. The short stories which I have examined in this study, as in previous years, have fallen naturally into four groups. The first consists of those stories which fail, in my opinion, to survive either the test of substance or the test of form. These stories are listed in the year book without comment or a qualifying asterisk. The second group consists of those stories which may fairly claim that they survive either the test of substance or the test of form. Each of these stories may claim to possess either distinction of technique alone, or more frequently, I am glad to say, a persuasive sense of life in them to which a reader responds with some part of his own experience. Stories included in this group are indicated in the yearbook index by a single asterisk prefixed to the title. The third group, which is composed of stories of still greater distinction, includes such narratives as may lay convincing claim to a second reading, because each of them has survived both tests, the test of substance and the test of form. Stories included in this group are indicated in the yearbook index by two asterisks prefixed to the title. Finally, I have recorded the names of a small group of stories which possess, I believe, the even finer distinction of uniting genuine substance and artistic form in a closely woven pattern with such sincerity that these stories may fairly claim a position in American literature. If all of these stories by American authors were republished, they would not occupy more space than five novels of average length. My selection of them does not imply the critical belief that they are great stories. A year which produced one great story would be an exceptional one. It is simply to be taken as meaning that I have found the equivalent of five volumes worthy of republication among all the stories published during the period under consideration. These stories are indicated in the yearbook index by three asterisks prefixed to the title, and are listed in the special “Roll of Honor.” In compiling these lists I have permitted no personal preference or prejudice to consciously influence my judgment. To the titles of certain stories, however, in the “Rolls of Honor,” an asterisk is prefixed, and this asterisk, I must confess, reveals in some measure a personal preference, for which, perhaps, I may be indulged. It is from this final short list that the stories reprinted in this volume have been selected. It has been a point of honor with me not to republish a story by an English author or by any foreign author. I have also made it a rule not to include more than one story by an individual author in the volume. The general and particular results of my study will be found explained and carefully detailed in the supplementary part of the volume. In past years it has been my pleasure and honor to dedicate the best that I have found in the American magazines as the fruit of my labors to the American artist who, in my opinion, has made the finest imaginative contribution to the short story during the period considered. I take pleasure in recalling the names of Benjamin Rosenblatt, Richard Matthews Hallet, Wilbur Daniel Steele, Arthur Johnson, Anzia Yezierska, and Sherwood Anderson. In my opinion Sherwood Anderson has made this year once more the most permanent contribution to the American short story, but as last year's book is associated with his name, I am happy to dedicate this year's offering to a new and distinguished English artist, A.E. Coppard, to whom the future offers in my opinion a rich harvest of achievement..FROM THE BOOKS.
The Best Short Stories Of 1919 And The Yearbook Of The American Short Story
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Author : Various
language : en
Publisher: Prabhat Prakashan
Release Date : 2024-06-01
The Best Short Stories Of 1919 And The Yearbook Of The American Short Story written by Various and has been published by Prabhat Prakashan this book supported file pdf, txt, epub, kindle and other format this book has been release on 2024-06-01 with Fiction categories.
Embark on a literary journey through the pages of "The Best Short Stories of 1919 and the Yearbook of the American Short Story," a captivating anthology curated by various authors. Immerse yourself in a world of vivid imagination and compelling storytelling as you explore the best that American literature has to offer. As you dive into these timeless tales, you'll encounter a rich tapestry of characters, settings, and themes that reflect the diversity and complexity of American life in 1919. But amidst the literary riches, a question arises: What makes a short story truly exceptional, and how do these stories capture the essence of their time? Experience the brilliance of each author as they skillfully weave narratives that entertain, provoke thought, and stir the emotions. Each story offers a unique perspective on the human experience, inviting readers to explore the triumphs and challenges of life in early 20th-century America. But beyond the surface lies a deeper truth: These stories serve as a window into the hopes, dreams, and anxieties of a nation grappling with the aftermath of World War I and the dawn of a new era. Prepare to be captivated by the literary treasures contained within "The Best Short Stories of 1919 and the Yearbook of the American Short Story." From tales of love and loss to stories of adventure and intrigue, this anthology showcases the best of American literature from a pivotal moment in history. Indulge in the richness of American storytelling as you journey through the pages of this remarkable collection. Through these stories, you'll gain a deeper understanding of the human condition and the enduring power of the written word. Are you ready to immerse yourself in the literary landscape of 1919 America? Order your copy of "The Best Short Stories of 1919 and the Yearbook of the American Short Story" today and discover why these timeless tales continue to resonate with readers around the world. Don't miss your chance to experience the magic of these classic stories. Order now and embark on a literary adventure through the heart and soul of America. ```
The Best Short Stories Of 1920 And The Yearbook Of The American Short Story
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Author : Various
language : en
Publisher: DigiCat
Release Date : 2022-09-15
The Best Short Stories Of 1920 And The Yearbook Of The American Short Story written by Various and has been published by DigiCat this book supported file pdf, txt, epub, kindle and other format this book has been release on 2022-09-15 with Fiction categories.
As one can guess from the title, the following book is an anthology of the stories published in 1920, considered to be the best by the editor of the book, Edward J. O'Brien. Featured titles include the following: 'The Other Woman (Sherwood Anderson)', 'Gargoyle (Edwina Stanton Babock)', and 'Ghitza (Konrad Bercovici)'.
The Best Short Stories Of And The Yearbook Of The American Short Story
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Author : Edward Joseph O'Brien
language : en
Publisher:
Release Date : 1941
The Best Short Stories Of And The Yearbook Of The American Short Story written by Edward Joseph O'Brien and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1941 with Short stories categories.
The Best Short Stories Of And The Yearbook Of The American Short Story
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Author : Martha Foley
language : en
Publisher:
Release Date : 1928
The Best Short Stories Of And The Yearbook Of The American Short Story written by Martha Foley and has been published by this book supported file pdf, txt, epub, kindle and other format this book has been release on 1928 with Short stories categories.