An assessment of the view that the brevity and compactness of the short story form makes it more inclined to be at odds with the conventions of realism than the novel.
Written in 2005; 3,158 words; 16 sources; MLA; $ 91.95
Paper Summary:
This paper discusses the way in which the short story as a literary genre has developed, with specific reference to the works of Chekhov, Mansfield, Hemingway and Carver. It refers this development back to the treatment of realism by these authors, examining how this differs from realism in the novel. It examines the devices of the above authors in order to portray a sense of reality that only the short story is capable of doing, through the very compactness of its form.
From the Paper:
"By exploring the relationship between the subjective absent and the objective present, Chekhov achieved an indistinct reality that did not specify an ideology, yet represented a suggested reality. Hahn states thus: '[Chekhov] saw it as literature's task to depict 'truth, unconditional and honest' - the truth of life itself; but as he conceived that truth, there were no literary models for him to follow.' The Chekhovian short story is governed by a seemingly insubstantial middle ground, comprised of a uniting tone rather than plot; yet, the implied realism arises from the interplay between the tangible and intangible, and between competing temporal spaces within a compact unit."
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