Encyclopedia Of The British Short Story

Provides a comprehensive reference to short fiction from Great Britain, Ireland, and the British Commonwealth, featuring some of the most popular writers and works.

A comprehensive reference to short fiction from Great Britain, Ireland, and the British Commonwealth. With approximately 450 entries, this A-to-Z guide explores the literary contributions of such writers as Joseph Conrad, James Joyce, D H Lawrence, Rudyard Kipling, Oscar Wilde, Katherine Mansfield, Martin Amis, and others.

The short story was a commercial phenomenon which took off in the late nineteenth century and lasted through to the rise of television and film. Baldwin uses a wide variety of sources to show how economic factors helped to dictate how and what a wide variety of authors wrote.

'Sometimes - not often - a book comes along that feels like Christmas. Philip Hensher's timely, but timeless, selection of the best short stories from the past 20 years is that kind of book. His introduction is as enriching as anything that has been published this year' Sunday Times A spectacular treasury of the best British short stories published in the last twenty years We are living in a particularly rich period for British short stories. Despite the relative lack of places in which they can be published, the challenge the medium represents has attracted a host of remarkable, subversive, entertaining and innovative writers. Philip Hensher, following the success of his definitive Penguin Book of British Short Stories, has scoured a vast trove of material and chosen thirty great stories for this new volume of works written between 1997 and the present day. Includes short stories by A.L. Kennedy, Tessa Hadley, Kazuo Ishiguro, Jackie Kay, Graham Swift, Jane Gardam, Ali Smith, Neil Gaiman, Martin Amis, China Miéville, Peter Hobbs, Thomas Morris, David Rose, David Szalay, Irvine Welsh, Lucy Caldwell, Rose Tremain, Helen Oyeyemi, Leone Ross, Helen Simpson, Zadie Smith, Will Self, Gerard Woodward, James Kelman, Lucy Wood, Hilary Mantel, Eley Williams, Sarah Hall, Mark Haddon and Helen Dunmore.

Excerpt from The Best British Short Stories of 1922 I do not suppose that a hundred years ago such a question could have Occurred to any one. Then all that a story was and could be was implied in the simple phrase: Tell me a story. We all know what that means. How many stories published today would stand this simple if final test of being told by word of mouth? I doubt whether fifty per cent would. Surely the universality of the printing press and the linotype machine have done something to alter the character of literature, just as the train and the telephone have done not a little to abolish polite correspondence. Most stories of today are to be read, not told. Hence great importance must be attached to the manner of writing; in some instances, the whole effect Of a modern tale is dependent on the manner of presentation. Henry James is, possibly, an extreme example. Has any one ever attempted to tell a tale in the Henry James man ner by word of mouth, even when the manner pretends to be conversational? I, for one, have yet to experience this pleasure, though I have listened to a good many able and experienced tale-tellers in my time. Now, there is a great connection between the manner or method of a writer and the matter upon which he works his manner or method. Henry James was not an accident. Life, as he found it, was full of trivialities and polite surfaces; and a great deal of ma'nner-style, if you like - is needful to give life and meaning to trivial things. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - When Edward J. O'Brien asked me to cooperate with him in choosing each year's best English short stories, to be published as a companion volume to his annual selection of the best American short stories, I had not realized that at the end of my arduous task, which has involved the reading of many hundreds of stories in the English magazines of an entire year, I should find myself asking the simple question: What is a short story? I do not suppose that a hundred years ago such a question could have occurred to any one. Then all that a story was and could be was implied in the simple phrase: "Tell me a story...." We all know what that means. How many stories published today would stand this simple if final test of being told by word of mouth? I doubt whether fifty per cent would. Surely the universality of the printing press and the linotype machine have done something to alter the character of literature, just as the train and the telephone have done not a little to abolish polite correspondence. Most stories of today are to be read, not told. Hence great importance must be attached to the manner of writing; in some instances, the whole effect of a modern tale is dependent on the manner of presentation. Henry James is, possibly, an extreme example.

Short stories have long been regarded as a potent form of writing. Concentrated and distilled yet engaging the reader at a pace that commands attention in the pages it occupies. Narrative and characters are still fully fleshed and the story is no longer, or shorter, than it absolutely must. Handed down from the oral tradition they have been variously regarded as 'apprentice pieces' written by authors on their way to becoming better writers as well as fodder for innumerable periodicals over the decades for those who liked their reading in more succinct chunks or perhaps with a 'cliffhanger ending' to keep the interest until the next exciting instalment. Today they are regarded as works in their own right and, in the pens of the most highly skilled, to be greatly admired. In this series we take the very best of those British Short stories and present them here, all from the year 1922.

TELEGRAPH, INDEPENDENT, FINANCIAL TIMES AND OBSERVER BOOKS OF THE YEAR 2015 Hilarious, exuberant, subtle, tender, brutal, spectacular, and above all unexpected: these two extraordinary volumes contain the limitless possibilities of the British short story. This is the first anthology capacious enough to celebrate the full diversity and energy of its writers, subjects and tones. The most famous authors are here, and many others, including some magnificent stories never republished since their first appearance in magazines and periodicals. The Penguin Book of the British Short Story has a permanent authority, and will be reached for year in and year out. This volume takes the story from the 1920s to the present day. Edited and with an introduction by Philip Hensher, the award-winning novelist, critic and journalist.