Desiree S Baby

Desiree's Baby BY Kate Chopin is about the daughter of Monsieur and Madame Valmond�, who are wealthy French Creoles in antebellum Louisiana. Abandoned as a baby, Desiree was found by Monsieur Valmond� lying in the shadow of a stone pillar near the Valmond� gateway. She is courted by the son of another wealthy, well-known and respected French Creole family, Armand. They marry and have a child. People who see the baby have the sense it is different. Eventually they realize that the baby's skin is the same color as a quadroon (one-quarter African)-the baby has African ancestry. At the time of the story, this would have been considered a problem for a person believed to be white.

A Study Guide for Kate Chopin's "Desiree's Baby," excerpted from Gale's acclaimed Short Stories for Students. This concise study guide includes plot summary; character analysis; author biography; study questions; historical context; suggestions for further reading; and much more. For any literature project, trust Short Stories for Students for all of your research needs.

Multi-culturalism Roots and Realities Edited by C. James Trotman Examines the place of multiculturalism in our society. The most meaningful support for multiculturalism has come from intellectuals, such as those represented in this book, who have discovered greater meaning about our American past by incorporating the concepts driving multi-culturalism. These essays engage the word and its meanings, as varied as they are, in an effort to add and expand on the dialogue for this ever-increasingly vital concept. However, Multiculturalism: Roots and Realities is not a book aimed at debates; instead, each essay generally makes use of multiculturalism as a way of examining history and social themes, while providing a broader and perhaps a deeper view of 19th-century American life and thought. The book's general goal, which in fact belongs to all of us, is to recognize excellence in the cultures of the historically neglected, claim excellence where it is found, and position it so that it can contribute to a fuller understanding of the human condition. Contributors include Susan Alves, Barbara J. Ballard, Jeannine DeLombard, Juniper Ellis, Joe B. Fulton, Henry Louis Gates, Richard E. Greene, Richard Hardack, Julie Husband, Gillian Johns, Verner D. Mitchell, Christine Palumbo-DeSimone, Janet Shannon, C. James Trotman, Matthew Wilson, and Julie Winch C. James Trotman is Professor of English and founding director of the Frederick Douglass Institute at West Chester University of Pennsylvania. He is author of Langston Hughes: The Man, His Art, and His Continuing Influence. Sales territory is worldwide January 2002 320 pages, 6 1/8 x 9 1/4 cloth 0-253-34002-0 $49.95 L / £35.50 paper 0-253-21487-4 $22.95 s / £16.50

Gathers short stories, journalism, and excerpts from novels, diaries, and memoirs by Southern authors.

Maupassant and the American Short Story isolates and develops more fully than any previous study the impact of Maupassant's work on the writing of Ambrose Bierce, O. Henry, Kate Chopin, and Henry James. It introduces a new perspective to assess their canons, reviving the importance of many often-ignored stories and, in the cases of Maupassant and O. Henry, reasserting the necessity of studying such writers to understand the history of the genre. An important moment in the history of the short story occurred with the American misreading of Maupassant's use of story structure. At the turn of the century, writers such as Bierce and O. Henry seized upon the surprise-inversion form because Maupassant's translators promoted him as championing it. Only a few writers, such as James and Chopin, both of whom read Maupassant in French, appreciated his deft handling of form more fully. Their vision and the impact of Maupassant upon their fiction was largely ignored by later generations of writers who preferred to associate Maupassant and O. Henry with the &"trick ending&" story. This book details the origins and consequences of this misperception. The book further contributes to the study of the short-story genre. Through an adaptation of Aristotelian concepts, Richard Fusco proposes an original approach to short-story structure, defining and developing seven categories of textual formulas: linear, ironic coda, surprise-inversion, loop, descending helical, contrast, and sinusoidal. As a practitioner of all these forms, Maupassant established his mastery of the genre. By studying his use of form, the book asserts a major reason for his pivotal importance in the historical development of the short story.

Series Editors: James Nagel, University of Georgia; Zack Bowen, University of Miami and Robert Lecker, McGill University The full range of literary traditions comes to life in the Twayne Critical Essays Series. Volume editors have carefully selected critical essays that represent the full spectrum of controversies, trends, and methodologies relating to each author's work. Essays include writings from the author's native country and abroad, with interpretations from the time they were writing, through the present day. Each volume includes: An introduction providing the reader with a lucid overview of criticism from its beginnings-illuminating controversies, evaluating approaches and sorting out the schools of thought The most influential reviews and the best reprinted scholarly essays A section devoted exclusively to reviews and reactions by the subject's contemporaries Original essays, new translations, and revisions commissioned especially for the series Previously unpublished materials such as interviews, lost letters and manuscript fragments A bibliography of the subject's writings and interviews.

A pretty book of tales drawn from life among the Creoles and Acadians of Louisiana. They represent with fidelity and spirit characters and customs unfamiliar to most readers ; they are admirably told, with just enough dialect for local color; and they can hardly fail to be very popular. Some of these stories are little more than croquis — just a brief incident of idea sketched in with a few rapid strokes and left to the imagination of the reader to be materialized, if we may so speak. Others are longer and more finished, but all are full of that subtle, alien quality which holds the Creole apart from the Anglo-Saxon — a quality we do not quite understand and can never reproduce, but which is full of fascination to us from the very fact that it is so unlike ourselves.