Download Exploring the Impact and Influence of Kate Chopin's Flash Fiction and more Schemes and Mind Maps Voice in PDF only on Docsity!
vii
About This Volume
Michael Cocchiarale and Scott D. Emmert
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and linger in the mind’s eye, stunning the senses and imprinting itself upon the memory. Although very short stories have a long KLVWRU\DQGKDYHDSSHDUHGXQGHUDQXPEHURIODEHOVÀDVK¿FWLRQLV now the preferred term, one that describes an established genre that FRQWLQXHVWRJURZLQSRSXODULW\7RGDWHKRZHYHUUHODWLYHO\OLWWOH VFKRODUVKLSKDVEHHQSXEOLVKHGRQLW7KHSUHVHQWYROXPHVHHNVWR DGGUHVVWKDWGH¿FLHQF\ZKLOHLQWURGXFLQJVWXGHQWVDQGWHDFKHUVWR the JHQUHDQGWRDQXPEHURILWV¿QHVWSUDFWLWLRQHUV $IWHU RXU LQWURGXFWRU\ HVVD\ ³2Q )ODVK )LFWLRQ´ ZKLFK VHWV out some of the JHQUH¶VKLVWRU\DQGGHYHORSPHQWWKHYROXPHR൵HUV four Critical Contexts chapters to deepen this background. Pamelyn Casto provides an extensive recounting of the major anthologies of ÀDVK¿FWLRQIURPWKH VWRWKHSUHVHQW$ORQJWKHZD\VKHDOVR LQWURGXFHVUHDGHUVWRDQXPEHURIUHFHQWPXVLFLDQVDQG¿OPPDNHUV ZKRKDYHDGDSWHGÀDVK¿FWLRQSLHFHVIRUDQHYHUH[SDQGLQJDXGLHQFH 7KHVFKRODUO\UHVSRQVHWRÀDVKLVWKHQWDNHQXSLQ5DQGDOO%URZQ¶V essay, which delineates how writers and theorists have grappled ZLWKWKHZRUNLQJVRIYHU\VKRUWVWRULHVWRGH¿QHÀDVKDVGLVWLQFWLYH IURPORQJHU¿FWLRQZKRVHQDUUDWLYHFRQYHQWLRQVGRQRWDOZD\VDSSO\ WRÀDVKVWRULHV.ULVWHQ)LJJLQVWKHQH[DPLQHVFRQWHPSRUDU\ÀDVK ¿FWLRQWKURXJKWKHFULWLFDOOHQVRIWKHIDEOHZKLFKR൵HUVQDUUDWLYH FRQYHQWLRQVVLPLODUWRWKRVHIRXQGLQÀDVK¿FWLRQ)LJJLQVDUJXHV FRQYLQFLQJO\ WKDW ZULWHUV RI ÀDVK KDYH ERUURZHG IURP IDEOHV D QXPEHURIVWRU\WHOOLQJWHFKQLTXHVWR³TXLFNO\DQGH൶FLHQWO\D൵HFW WKHUHDGHU´0HJDQ*LGGLQJVFRQWLQXHVWKHGLVFXVVLRQRIQDUUDWLYH WHFKQLTXHLQÀDVKE\FRPSDULQJDÀDVKSLHFHE\Donald Barthelme, DFDQRQLFDOÀDVKZULWHUDQGAmelia Gray, a talented contemporary DXWKRU *LGGLQJV GLVFXVVHV KRZ ¿UVW SHUVRQ point of view and tense help each writer to compress narrative time while amplifying suggested meanings.
viii Critical Insights
Following the context chapters, the volume turns to ten essays WKDWWDNHXSLQGLYLGXDOÀDVK¿FWLRQDXWKRUV7KHVH&ULWLFDO5HDGLQJV FKDSWHUV UHYHDO QRW RQO\ ÀDVK ¿FWLRQ¶V H[WUDRUGLQDU\ UDQJH examining a remarkable array of authors with diverse themes and styles, but also its long history as an international phenomenon. In WKH¿UVWRIWKHVHHVVD\V5REHUW&(YDQVGLVFXVVHVKate Chopin, ZKRVHYHU\VKRUWVWRULHVVXFKDV³7KH6WRU\RIDQ+RXU´DQG³5LSH )LJV´ DUH RIWHQ DVVLJQHG LQ KLJK VFKRRO DQG FROOHJH OLWHUDWXUH courses. However, the careful structure of Chopin’s very short stories may be less well studied. Evans grounds his insights on &KRSLQ¶VIRUPDOPDVWHU\LQÀDVK¿FWLRQWKHRU\DQGXSRQGHIWFORVH readings of selected stories to demonstrate fully their “impressive moral and artistic FRPSOH[LW\´ 7KHQH[WWKUHHFKDSWHUVIRFXVRQVLJQL¿FDQWLQWHUQDWLRQDOZULWHUV RI ÀDVK ¿FWLRQ ,Q ³$JDLQVW 6KRUW$WWHQWLRQ 6SDQV μ)UDJPHQWDU\¶ )LFWLRQIRUμ)UDJPHQWDU\¶/LYHV´6DQWLQR3ULQ]LGLVFXVVHVWKHÀDVK ¿FWLRQ RI WZR :HVWHUQ (XURSHDQ ZULWHUV²)UDQ] .DIND DQG KLV early twentieth-century contemporary 5REHUW:DOVHU²WRFKDOOHQJH the dismissive criticism that very short stories appeal to very short DWWHQWLRQVSDQV2QWKHFRQWUDU\3ULQ]LDUJXHVIURPWKHH[DPSOHVRI .DINDDQG:DOVHUWKDWÀDVKVWRULHVHQJDJHUHDGHUVLQDSDUWLFXODUZD\ one that “complements, rather than diminishes, our contemporary OLIHVW\OHV´ 1H[W (ULF 6WHUOLQJ VWXGLHV YHU\ VKRUW VWRULHV E\ Isaac Babel, who employed a minimalist style to represent the oppression RI-HZVLQ5XVVLDERWKEHIRUHDQGDIWHUWKHFRPPXQLVWUHYROXWLRQ RI ,QWHQVH DQG RSHQHQGHG %DEHO¶V ÀDVK ¿FWLRQ UDLVHG D voice against anti-Semitism in Russia, but as Sterling’s moving essay shows, these subtly brief stories were still too loud for the Russian authorities, who murdered Babel to silence him. In the next HVVD\/DXUD+DWU\FRQWLQXHVWKHIRFXVRQLQWHUQDWLRQDOÀDVK¿FWLRQ VKLQLQJFRQVLGHUDEOHOLJKWRQÀDVKE\WKH$UJHQWLQLDQZULWHUV-XOLR &RUWi]DUDQG/XLVD9DOHQ]XHOD+DWU\GHWDLOVKRZWKHVHLQQRYDWLYH ZULWHUVKDYHFUHDWHGPHPRUDEOHÀDVKVWRULHVE\GHSOR\LQJDEVXUGLVW humor and witty wordplay and, in the process, pushed the entire genre in new, delightful directions.
x Critical Insights
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volume is both illuminating and memorable, encouraging greater readership and inspiring further study. :H WKDQN 5DQGDOO %URZQ DQG$VKOH\ &KDQWOHU IRU WKHLU KHOS ZLWKWKHELEOLRJUDSK\DQG7DUD0DVLKIRUKHUDGYLFHDQGLGHDVDWWKH early stage of this project.
Kate Chopin’s Flash Fiction 69
Kate Chopin’s Flash Fiction and Flash Fiction
Theory
Robert C. Evans
Kate Chopin is arguably one of the most important American writers RIÀDVK¿FWLRQ RIWHQGH¿QHGDVWH[WVRIURXJKO\DWKRXVDQGZRUGV or less). It is hard to think of another important American author (until, perhaps, very recently) who wrote more very short-short stories than she did. At least two examples of stories by Chopin WKDWFRXOGQRZEHFDOOHGÀDVK¿FWLRQ²³7KH6WRU\RIDQ+RXU´DQG ³5LSH)LJV´²DUHIUHTXHQWO\DQWKRORJL]HGDQGURXWLQHO\WDXJKW+HU HDUOLHVW VXUYLYLQJ SLHFH RI ¿FWLRQ ³(PDQFLSDWLRQ$ /LIH )DEOH´ ZDVDOVRRQHRIKHUVKRUWHVWDQGVKHFRQWLQXHGWRZULWHÀDVK¿FWLRQ throughout her career. My purposes here are several. First, I will examine how &KRSLQ¶V ÀDVK ¿FWLRQ KHOSV LOOXPLQDWH²DQG FDQ EH LOOXPLQDWHG E\²FHUWDLQ LGHDV DERXW ÀDVK ¿FWLRQ SURSRVHG E\ YDULRXV DXWKRUV and literary theorists. My essay is as much an introduction to (and VXUYH\RI ÀDVK¿FWLRQWKHRU\DVLWLVDGLVFXVVLRQRI&KRSLQ¶VRZQ brief tales. Secondly, the essay examines several Chopin stories PRUHVSHFL¿FDOO\IRFXVLQJSDUWLFXODUO\RQWKHWUDLWVWKDWPDNHVRPH H൵HFWLYHDQGVRPHOHVVH൵HFWLYH)LQDOO\WKHHVVD\H[SORUHVYDULRXV WKHPHVDQGPHWKRGVWKDWUXQWKURXJKRXW&KRSLQ¶VFDUHHUDVDÀDVK ¿FWLRQZULWHU$V WKLVH[SORUDWLRQZLOOUHYHDO&KRSLQ¶V YHU\ VKRUW stories are among her most artistically and morally complex works RI¿FWLRQ $ FRQVHUYDWLYH OLVWLQJ RI &KRSLQ¶V ÀDVK ¿FWLRQ ZLWK ZRUG FRXQWVLQSDUHQWKHVHV ZRXOGLQFOXGH³$5HÀHFWLRQ´ ³5LSH )LJV´ ³7KH 1LJKW &DPH 6ORZO\´ ³2OG$XQW 3HJJ\´ ³(PDQFLSDWLRQ $ /LIH )DEOH´ ³$Q ,GOH )HOORZ´ ³'RFWRU &KHYDOLHU¶V /LH´ ³$ /LWWOH )UHH0XODWWR´ ³$+DUELQJHU´ ³%RXO{WDQG%RXORWWH´ ³&URTXH 0LWDLQH´ ³$ 9HU\ )LQH )LGGOH´ ³7ZR 6XPPHUV DQG 7ZR6RXOV´ ³$7XUNH\+XQW´ ³7KH%rQLWRXV¶6ODYH´
Kate Chopin’s Flash Fiction 71
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or implicitly symbolic, allegorical, or parabolic. Many of Chopin’s VPDOOHVW ¿FWLRQV VXFK DV ³5LSH )LJV´ HPSKDVL]H WKH DQHFGRWDO while other relevant categories include meditative essays, character VWXGLHVORFDOFRORUVWRULHVDQGWDOHVHQGLQJZLWKD¿QDOLURQLFWZLVW RUDVLQ³7KH.LVV´DQG³7ZR6XPPHUVDQG7ZR6RXOV´GRXEOH twists). 7KHWRQHRI&KRSLQ¶VVKRUWHVWVWRULHVLVRIWHQVO\O\ZKLPVLFDO and subtly humorous. If her shortest tales reveal a common thread, it is a keen, sympathetic, amused, and often amusing sense of human foibles and complexities. Challenging the mistaken criticism that ÀDVK¿FWLRQODFNVQXDQFHGFKDUDFWHUL]DWLRQ&KRSLQ¶VEULHIHVWZRUNV often grant insight into the lives of real, complicated human beings, QRWPDQLNLQVVWXFNWRJHWKHUWR¿OORXWDVKRUWHSLVRGH+HUEHVWVKRUW short stories thus satisfy another of Chappell’s criteria: they imply a ODUJHUZRUOGWKHVWRU\RQO\EULHÀ\ EXWH൵HFWLYHO\ VXJJHVWV 6 7 227). Sometimes, in fact, Chopin’s shorter works have more power WKDQKHUORQJHUPRUHHODERUDWHVWRULHV7KHVKHHUFRQFHQWUDWLRQRI ³7KH6WRU\RIDQ+RXU´IRULQVWDQFHKDVPDGHLWDFODVVURRPDQG SRSXODU IDYRULWH )HZ SHRSOH ZKR KDYH UHDG LW HYHU IRUJHW LW7KH VDPHPLJKWEHVDLGRI³'HVLUpH¶V%DE\´DQGQXPHURXVRWKHUEULHI works by Chopin. <HW &KDSSHOO DOWKRXJK FODLPLQJ WKDW ÀDVK ¿FWLRQ FDQ DGRSW PDQ\GL൵HUHQWVW\OHVDQGWRQHVVHHPVOHVVFRQYLQFLQJZKHQDUJXLQJ WKDW D JRRG VKRUWVKRUW VWRU\ KDV WR EH ³WURXEOLQJ´ ³ Unease ´ KH FODLPV³ZKHWKHUKXPRURXVRUVDG´LVWKHLQWHQGHGH൵HFW³(YHQLI the story achieves resolution, it cannot be a simple resolution and LW VKRXOG QRW JLYH WKH LPSUHVVLRQ RI SHUPDQHQFH´ 6 7 ,Q WKLVFDVH&KDSSHOO¶VDWWHPSWWROLPLWVXFFHVVIXOÀDVK¿FWLRQVHHPV VWUDLQHG,W¿WVVXFKZHOONQRZQ&KRSLQWDOHVDV³7KH6WRU\RIDQ +RXU´ RU ³'RFWRU &KHYDOLHU¶V /LH´ DQG LW DOVR ¿WV VXFK VLPLODUO\ GLVWXUELQJ RU XQVHWWOLQJ WDOHV DV ³7KH %OLQG 0DQ´ ³&DOLQH´ ³-XDQLWD´DQG³$9HU\)LQH)LGGOH´WRPHQWLRQMXVWDIHZ,WVHHPV less applicable, however, to some of Chopin’s more obviously ZKLPVLFDORUKXPRURXVZRUNVVXFKDV³%RXO{WDQG%RXORWWH´ ZLWK LWV DPXVLQJ WZHOYH\HDUROG WZLQV ZKR KHDG R൵ WR EX\ WKHLU YHU\
72 Critical Insights
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about a young rural girl’s disillusioning visit to a city, could easily have been expanded both into the past and into the future. Caline FRXOG ZHOO EH WKH FHQWUDO ¿JXUH LQ DQ LQWULJXLQJ QRYHO 6R FRXOG WKH WLWOH FKDUDFWHU RI ³'RFWRU &KHYDOLHU¶V /LH´ $ FRPSDVVLRQDWH physician in a rough part of town, he risks his own social standing to DLGWKHGRZQWURGGHQ7KHHSLVRGH&KRSLQUHFRXQWVFRXOGHDVLO\EH just one chapter in a much longer book. And it goes without saying WKDWWKH³EDFNVWRU\´WRWKHPDUULDJHRI/RXLVHDQG%UHQWOH\0DOODUG LQ³7KH6WRU\RIDQ+RXU´ZRXOGPDNHDQDEVRUELQJQRYHO$OOWKH ZRUNV MXVW PHQWLRQHG DOVR VDWLVI\ DQRWKHU RI 7KHURX[¶V FULWHULD like most of Chopin’s best brief works, they are exceptionally well GHVLJQHG7KH\PD\EHVKRUWEXWWKH\DUHQRWVLPSOH -RKQ /¶+HXUHX[¶V VWDWHPHQWV LQ WKH 6KDSDUG DQG 7KRPDV DQWKRORJ\ DOVR ¿W PDQ\ RI &KRSLQ¶V EULHIHVW WDOHV:RUNV VXFK DV ³7KH %rQLWRXV¶ 6ODYH´ DQG ³2OG$XQW 3HJJ\´ ERWK DERXW IRUPHU VODYHV OLYLQJ QRVWDOJLFDOO\ DIWHU GH¿QLWHO\ DQG PHPRUDEO\ ³DQDWRPL]HDFKDUDFWHU´ 6 7 DVGRVXFKVWRULHVDV³-XDQLWD´ DERXW D P\VWHULRXVO\ DWWUDFWLYH XQDWWUDFWLYH ZRPDQ ³7KH .LVV´ DERXW D ZRPDQ ¿QDOO\ OHVV FOHYHU WKDQ VKH DVVXPHV DQG ³7KH :KLWH (DJOH´ DERXW DQ LPDJLQDWLYH \RXQJ JLUO ZKR EHFRPHV D lonely old woman). Practically all of Chopin’s briefest tales are the kind of stories that, according to L’Heureux, “we can’t help reading IDVW DQG WKHQ UHUHDGLQJ DJDLQ´ HYHQ WKRXJK ³QR PDWWHU KRZ PDQ\WLPHVZHUHDG>WKHP@ZH¶UHQRWTXLWHWKURXJK´ 6 7 &KRSLQ¶VPRVWREYLRXVO\FRPLFWDOHVVXFKDV³%RXO{WDQG%RXORWWH´ DQG³&URTXH0LWDLQH´FDQSHUKDSVEHIXOO\GLJHVWHGDWRQHVLWWLQJ
74 Critical Insights
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H൵HFWLYHHPSKDVLVRQVWDUWOLQJirony, and appeal to a broad range of possible readers. &KRSLQ¶VEHVWÀDVK¿FWLRQH[HPSOL¿HVPDQ\RWKHUWUDLWVRIWKH ÀDVK¿FWLRQJHQUHPHQWLRQHGLQWKH6KDSDUGDQG7KRPDVYROXPH *RRGÀDVK¿FWLRQ VD\VLydia Davis) has a literal presence: “You GRQ¶WKDYHWLPHWRJHWXVHGWRLW IRUJHWLW DV\RXUHDG´ 6 7 Certainly this is true of many of Chopin’s best short-short tales. Her FKDUDFWHUVOLNHPDQ\SHRSOHLQÀDVK¿FWLRQWHQGWREH LQ'DYLV¶V ZRUGV ³XQKHURLF´²WKDW LV FRPPRQ UHDOLVWLF HYHU\GD\ SHUVRQV 6 7 'DYLVVXJJHVWVWKDWÀDVK¿FWLRQLVHVSHFLDOO\DSSURSULDWH IRUGHDOLQJZLWKVXFKFKDUDFWHUVDQG&KRSLQ¶VEULHIHVWWDOHVFRQ¿UP this claim. But Chopin’s best works contradict negative assertions about ÀDVK¿FWLRQPDGHE\+()UDQFLV)UDQFLVDUJXHVWKDWLQYHU\EULHI works, “characters approach anonymity, setting nears irrelevance, VLWXDWLRQ KRZHYHUÀLPV\ DOPRVWLQYDULDEO\SUHVLGHVRUWRQH7RQH DQGVLWXDWLRQDUHWKHSULPDGRQQDV´ 6 7 )UDQFLVFRQWLQXHV ³7KHIRUPPDWFKHVWKHLQVWDQW¶VSHUFHSWLRQ7KHbrevity is the joy, the Roman candle thrust, burst,— Ahhh! —and darkness. As a too- IUHTXHQWH[SHULHQFHWKH\ERUH,VHOGRP¿QGRQHZKLFKEHDUVUH UHDGLQJ´ 6 7 :K\)UDQFLVVKRXOGIHHOWKLVZD\LVKDUGWRXQGHUVWDQG$IWHU all, some of the greatest, most resonant, most thought-provoking OLWHUDU\ZRUNVDUHEULHISRHPV:K\VKRXOGDIHZZRUGVDUUDQJHG in one form be innately more (or less) interesting than a few words arranged in another? Few people tire of reading good, brief lyrics in succession; why should they tire of reading successive short-short VWRULHV"7KH SUREOHP LV QRW ZLWK DQ\ form itself EXW ZLWK VSHFL¿F H[DPSOHV 5HDGLQJ D VHULHV RI ¿QH SRHPV FDQ EH H[FHSWLRQDOO\ VDWLVI\LQJ UHDGLQJDVHULHVRI¿QHVKRUWVKRUWVWRULHVFDQEHWRR
Chopin’s Flash Fiction: Individual Examples Chopin, of course, wrote some less-than-fully-impressive, short- short tales. Here, however, I want to concentrate on the varied successes she achieved in some of her briefest works. “Ripe
Kate Chopin’s Flash Fiction 75
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precisely because it is brief. However, unlike other stories such as ³$5HÀHFWLRQ´ ZKLFKLVUDUHO\UHDGWKRXJKLWLVHYHQEULHIHU ³5LSH )LJV´ LV DQ H[WUDRUGLQDULO\ ULFK ³ÀDVK´ ZRUN WKDW UHSD\V IUHTXHQW re-reading. Precisely because this story is so short, perhaps it is worth reprinting in full:
0DPDQ1DLQDLQHVDLGWKDWZKHQWKH¿JVZHUHULSH%DEHWWHPLJKWJR to visit her cousins down on the Bayou-Boeuf where the sugar cane JURZV1RWWKDWWKHULSHQLQJRI¿JVKDGWKHOHDVWWKLQJWRGRZLWKLW but that is the way Maman-Nainaine was. It seemed to Babette a very long time to wait; for the leaves upon WKH WUHHV ZHUH WHQGHU \HW DQG WKH ¿JV ZHUH OLNH OLWWOH KDUG JUHHQ marbles. But warm rains came along and plenty of strong sunshine, and though Maman-Nainaine was as patient as the statue of la Madone, DQG%DEHWWHDVUHVWOHVVDVDKXPPLQJELUGWKH¿UVWWKLQJWKH\ERWK knew it was hot summer-time. Every day Babette danced out to where WKH¿JWUHHVZHUHLQDORQJOLQHDJDLQVWWKHIHQFH6KHZDONHGVORZO\ beneath them, carefully peering between the gnarled, spreading EUDQFKHV %XW HDFK WLPH VKH FDPH GLVFRQVRODWH DZD\ DJDLQ :KDW VKHVDZWKHUH¿QDOO\ZDVVRPHWKLQJWKDWPDGHKHUVLQJDQGGDQFHWKH whole day long. :KHQ0DPDQ1DLQDLQHVDWGRZQLQKHUVWDWHO\ZD\WREUHDNIDVW the following morning, her muslin cap standing like an aureole about her white, placid face, Babette approached. She bore a dainty porcelain platter, which she set down before her godmother. It FRQWDLQHGDGR]HQSXUSOH¿JVIULQJHGDURXQGZLWKWKHLUULFKJUHHQ leaves. ³$K´VDLG0DPDQ1DLQDLQHDUFKLQJKHUH\HEURZV³KRZHDUO\ WKH¿JVKDYHULSHQHGWKLV\HDU´ ³2K´VDLG%DEHWWH³,WKLQNWKH\KDYHULSHQHGYHU\ODWH´ ³%DEHWWH´ FRQWLQXHG 0DPDQ1DLQDLQH DV VKH SHHOHG WKH YHU\ SOXPSHVW¿JVZLWKKHUSRLQWHGVLOYHUIUXLWNQLIH³\RXZLOOFDUU\P\ ORYHWRWKHPDOOGRZQRQ%D\RX%RHXI$QGWHOO\RXU7DQWH)URVLQH ,VKDOOORRNIRUKHUDW7RXVVDLQW²ZKHQWKHFKU\VDQWKHPXPVDUHLQ EORRP´ &KRSLQ³5LSH)LJV´
239
About the Editors
Michael Cocchiarale LVDQDVVRFLDWHSURIHVVRURI(QJOLVKDW:LGHQHU 8QLYHUVLW\ ZKHUH KH WHDFKHV$PHULFDQ OLWHUDWXUH FUHDWLYH ZULWLQJ DQG FRPSRVLWLRQ :LWK 6FRWW ' (PPHUW KH LV FRHGLWRU RI Upon Further Review: Sports in American Literature (2004), Critical Insights: American Sports Fiction (2013), and Critical Insights: American Short Story (2015). He is also the author of Still Time (2012), a collection of short stories.
Scott D. Emmert LV D SURIHVVRU RI (QJOLVK DW WKH 8QLYHUVLW\ RI :LVFRQVLQ²)R[ 9DOOH\ ZKHUH KH WHDFKHV FRPSRVLWLRQ OLWHUDWXUH DQG ¿OP:LWK0LFKDHO&RFFKLDUDOHKHLVFRHGLWRURI Upon Further Review: Sports in American Literature (2004), Critical Insights: American Sports Fiction (2013), and Critical Insights: American Short Story :LWK 6WHYHQ7URXWKHFRHGLWHG World War I in American Fiction: An Anthology of Short Stories (2014).
