_ Shorter Second Edition _ The Story and Its Writer An Introduction to Short Fiction x \ { : - Ann Charters re ALPHABETICAL LISTING OF WRITERS Sherwood Anderson Death in the Woods 243 Form, Not Plot, in the Short Story (Commentary) 727 Margaret Atwood When It Happens Isaac Babel My First Goose 373 Donald Barthelme The President 649 589 Ann Beattie Waiting 676 Ambrose Bierce An Occurrence at Owl Creek Bridge 126 Raymond Carver What We Talk about When We Talk about Love 623 Creative Writing 101 (Commentary) 774 Willa Cather Paul’s Case 226 Katherine Mansfeld (Commentary) 739 John Cheever The Swimmer 460 Why I Write Short Stories (Commentary) 752 Anton Chekhov A Trifle from Real Life 173 The Lady with the Pet Dog 178 Technique in Writing a Short Story (Commentary) 717 Kate Chopin Regret 166 The Story of an Hour 169 On How She Stumbled upon Maupassant (Commentary) 713 Stephen Crane The Open Boat 205 Isak Dinesen The Blue Jar 335 Ralph Ellison Battle Royal 479 The Influence of Folklore on “Battle Royal” (Commentary) 755 Louise Erdrich The Red Convertible 689 William Faulkner A Rose for Emily 395 Dry September 403 The Meaning of “A Rose for Emily” (Commentary) 747 - F. Scott Fitzgerald Babylon Revisited 377 « Gabriel Garcia Marquez A Very Old Man with Enormous Wings 583 Nikolai Gogol The Overcoat 28 Nadine Gordimer Town and Country Lovers 542 The Flash of Fireflies (Commentary) 766 Nathaniel Hawthorne Young Goodman Brown — 10 Passage from The American Notebooks (Commentary) 699 Ermest Hemingway The Snows of Kilimanjaro 414 Zora Neale Hurston Spunk 434 Shirley Jackson The Lottery 527 The Morning of June 28, 1948, and sco “The Lottery” (Commentary) 757 Sarah Orne Jewett A White Heron 135 ‘ James Joyce Araby 254 The Dead 259 Franz Kafka The Metamorphosis 291] Jamaica Kincaid sirl 686 » D. H. Lawrence Odour of Chrysanthemums 338 The Lust of Hate in Poe’s “The Cask of Amontillado” (Commentary) 706 Doris Lessing To Room 19 500 Bernard Malamud The Jewbird 492 Katherine Mansfield The Doll’s House 355 Bobbie Ann Mason Shiloh 658 A Conversation with Lila Havens (Commentary) 780 Guy de Maupassant The String 144 Miss Harriet 149 The Writer's Goal (Commentary) 710 Herman Melville Bartleby, the Scrivener 52 Blackness in Hawthorne’s “Young Goodman Brown” (Commentary) 701 Alice Munro How I Met My Husband 594 Vladimir Nabokov Anton Chekhov's “The Lady with the Little Dog” (Commentary) 719 Gogol’s Genius in “The Overcoat” (Commentary) 707 Joyce Carol Oates Where Are You Going, Where Have You Been? 634 The Making of a Writer (Commentary) 778 Flannery O’Connor A Good Man Is Hard to Find 557 Everything that Rises Must Converge 569 The Element of Suspense in “A Good Man Is Hard to Find” (Commentary) 770 Frank O’Connor The Elaboration of Style and Form in Joyce’s “The Dead” (Commentary) 730 Sean O’Faolain Maupassant’s Interest in Elemental Passion in “Miss Harriet” (Commentary) 715 Tillie Olsen I Stand Here Ironing 471 Grace Paley A Conversation with My Father 536 A Conversation with Ann Charters (Commentary) 761 Edgar Allan Poe The Cask of Amontillado 21 The Importance of the Single Effect in a Prose Tale (Commentary) 703 Katherine Anne Porter Flowering Judas 362 The Ongins of “Flowering Judas” (Commentary) 744 Leo Tolstoy The Death of Ivan Ilych 82 John Updike Flight 609 Franz Kafka and “The Metamorphosis” (Commentary) 732 Alice Walker Roselily 671 Eudora Welty A Worn Path 452 Is Phoenix Jackson’s Grandson Really Dead? (Commentary) 749 Edith Wharton Roman Fever 193 Every Subject Must Contain within Itself Its Own Dimensions (Commentary) 725 William Carlos Williams A Night in June 329 Notes on “A Beginning on the Short Story” (Commentary) 736 Richard Wright The Man Who Was Almost a Man 440) Digitized by the Internet Archive in 2022 with funding from Kahle/Austin Foundation https://archive.org/details/storyitswriterinOO0O2unse The Story and Its Writer An Introduction to Short Fiction Ann Charters (Ph.D. Columbia) is a professor of English at the University of Connecticut, where she has taught courses on the short story for many years. In addi- tion to articles on contemporary American poetry and feminism, she has published full-length biographies of the black entertainer Bert Williams, the Beat writer Jack Kerouac, and (with her husband) the Russian poet Vladi- mir Mayakovsky. She also is a photographer of consider- able accomplishment whose portraits of well-known writers and musicians are often exhibited and reprinted. The Story and Its Writer An Introduction to Short Fiction Shorter Second Edition aod EDITED BY Ann Charters University of Connecticut BEDFORD BOOKS OF ST. MARTIN’S PRESS BOSTON For Bedford Books Publisher: Charles H. Christensen Associate Publisher: Joan E. Feinberg Managing Editor: Elizabeth M. Schaaf Developmental Editor: Ellen Darion Production Editor: Mary Lou Wilshaw Copyeditor: Susan M. S. Brown Text Design: Anna Post Cover Design: Hannus Design Associates Cover Art: Guy Gladwell, as appeared in The Atlantic Monthly Library of Congress Catalog Card Number: 89-061414 Copyright © 1990 by Bedford Books of St. Martin’s Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted by any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be expressly permitted by the 1976 Copyright Act or in writing by the Publisher. Manufactured in the United States of America. A ashen he Ae BAU 0) fice duee eb a For information, write: St. Martin’s Press, Inc. 175 Fifth Avenue, New York, NY 10010 Editorial Offices: Bedford Books of St. Martin’s Press 29 Winchester Street, Boston, MA 02116 ISBN: 0-312-03241-2 Acknowledgments Sherwood Anderson. “Death in the Woods” copyright 1926 by The American Mercury, Inc. Copyright renewed 1953 by Eleanor Copenhaver Anderson. “Form, Not Plot, in the Short Story” copyright 1924 by B. W. Huebsch, Inc. Copyright renewed 1952 by Eleanor Copenhaver Anderson. Both reprinted by permission of Harold Ober Associates Incorporated. Margaret Atwood. “When It Happens” from Dancing Girls and Other Stories. Copyright © 1977, 1982 by O. W. Toad, Ltd. Reprinted by permission of Simon & Schuster, Inc. and the Canadian Publishers, McClelland and Stewart, Toronto. Isaac Babel. “My First Goose,” from The Collected Stories of Isaac Babel. Copyright © 1955 by S. G. Phillips, Inc. Reprinted by permission ofS. G. Phillips, Inc. Donald Barthelme. “The President” from Unspeakable Practices, Unnatural Acts by Donald Barthelme. Copyright © 1964, 1968 by Donald Barthelme. First published in The New Yorker. Reprinted by permission of International Creative Management, Inc. Ann Beattie. “Waiting” copyright © 1979 by Ann Beattie. Reprinted from The Burning House: Short Stories, by Ann Beattie, by permission of Random House, Inc. Raymond Carver. “What We Talk About When We Talk About Love” copyright © 1981 by Raymond Carver. Reprinted from What We Talk About When We Talk About Love, by Raymond Carver, by permission of Alfred A. Knopf, Inc. “Foreword” by Raymond Carver from On Becoming a Novelist by John Gardner. Foreword copyright © 1983 by Raymond Carver. Reprinted by permission of Harper & Row, Publishers, Inc. Acknowledgments and copyrights are continued at the back of the book on pages 843-845, which constitute an extension of the copyright page. Pretace The Book’s Origin This shorter version of The Story and Its Writer, Second Edition, is a response to the requests of many instructors interested in a more compact edition of the anthology. While the number of stories and commentaries has been reduced, the shorter edition remains otherwise the same as the longer book, retaining all of its Hexible apparatus. The book’s basic purpose is also the same — to encourage students to learn about the short story as much as possible from the writers themselves. In my years of teaching classes in the short story, most of the anthologies I used were either textbooks with a limited number of stories and a great deal of editorial discussion — categorizing the stories by plot, character, theme, and so forth, often restricting the students’ interpretations and my classroom presentations — or anthologies collecting many stories with almost no editorial apparatus except brief biographies of the writers that did not suggest their significance as story writers. Purpose The Story and Its Writer is something different. At the heart of this anthology are fifty-five short stories, assembled so that students can trace the evolution of this literary form and the lively interaction between short story writers over its 150-year history. I have tried to provide abundant yet unobtrusive editorial apparatus. The stories are neither embedded within the editorial discussions of the elements of fiction nor followed by questions for discussion. In my view, each of these features restricts the ways in which a story might be taught or read. In contrast, my purpose was to provide editorial apparatus that enhances the teaching and interpretive possibilities for each story. Thus, I have moved the necessary discussion of the elements of fiction and the history of the short story to the back of the book, so that they can be assigned at the most appropriate point in a class. In the headnotes introducing the writers and in the commentary section following the short stories, I have tried to let the writers speak for themselves about their backgrounds and their methods as storytellers. Stories, Authors, and Commentaries For this shorter second edition, The Story and Its Writer features forty-nine writers, including a large proportion of women and minority authors. There are Vv vi PREFACE so many fine contemporary short story writers practicing their craft that | have kept many of them in this edition, including Margaret Atwood, Donald Barthelme, Raymond Carver, Louise Erdrich, Jamaica Kincaid, Bobbie Ann Mason, Alice Munro, and Alice Walker. The book includes dual selections from the work of several major writers, so that students have the opportunity to sample the range and variety of these authors’ short fiction. In the second part of the anthology, twenty-four of the writers — as well as other literary figures — comment on the form of the short story and on specific stories included in the first part. | know from my own experience that commentaries by the short story writers themselves can spark good class discussion and furnish stimulating ideas for student papers. I was delighted to have my impression so enthusiastically confirmed by instructors who used the earlier editions of this anthology. Organization For easy reference, readers will find an alphabetical table of contents inside the front cover of The Story and Its Writer. The chronological organization (by author's date of birth) was chosen to reflect important stages in the evolution of this literary genre. Short fiction can, of course, be taught any number of ways. Instructors may ignore the chronological order and assign the stories according to their own thematic or aesthetic context, and students may browse further in the stories on their own, guided in their reading by the headnotes. The Editorial Apparatus The Story and Its Writer opens with a brief general introduction to prepare students for the approach taken in the anthology. It closes with four sections designed to help students become better readers of short stories. First is an extensive history of the genre. This historical presentation refers to works in The Story and Its Writer and integrates the observations made in the headnotes for the individual authors. Second is a section introducing the elements of short fiction. While referring to many stories in the anthology, | have concentrated my analysis on two early stories, Hawthorne’s “Young Goodman Brown” and Poe’s “The Cask of Amontillado,” because students understandably grow restive if literary criticism refers too often to material they have not read yet. A chapter on how to write about short fiction, also drawing primarily on “Young Goodman Brown” so it can be assigned early in the course, and a glossary of literary terms for handy reference conclude the anthology. Resources for Teaching The Story and Its Writer The instructor's manual for The Story and Its Writer, which is bound into the instructor’s edition or available separately, has a discussion of each story, questions and writing assignments for students, and short bibliographies. PREFACE vii Acknowledgments I wish to acknowledge the help of many people in the preparation and revision of the anthology and the manual. My colleagues in the English Department at the University of Connecticut — William Sheidley (who wrote the manual with me and my graduate assistant, Martha Ramsey), Lee Jacobus, Barbara Rosen, William Curtin, Milton Stern, Jack Davis, Jack Manning, Michael Meyer, David Benson, and Feenie Ziner — generously contributed suggestions and advice at every stage of the preparation. The staff of the reference section of the Homer Babbidge Library, especially Leanne Pander, Pamela Skinner, David McChesney, and Carol Abramson, gave unflagging assistance. Students in my short story classes diligently drafted the sample essays illustrating the various ways to write about stories. Reviewers of the first edition who suggested changes and improvements include Anita Moss and David Nicklin. In preparing this edition of The Story and Its Writer, | am especially grateful to my intelligent and sympathetic editor, Karen Henry, whose assistance was invaluable. My publisher, Charles Christensen, was an untiring source of suggestions and practical advice. Others at Bedford Books whe helped with this edition include Joan Feinberg, Ellen Darion, Elizabeth Schaaf, Mary Lou Wilshaw, Chris Rutigliano, Jane Betz, and Susan M. S. Brown, copyeditor. Professor John Repp researched information for some of the new headnotes. Professors John Covolo and Daniel L. Zins wrote me about typographical errors and suggested ways to widen the selection of the stories to include important post-Hiroshima contemporary issues. Other professors who used the first edition of the anthology and generously took time to share their ideas about it include Diana Abu-Jaber, M. Jane Adelsberger, Pamela Barnes, Robert J. Barton, Lee Bedell, Bonnie C. Bedford, Les Bennett, Linda Benson, Michael Berry, Ellen Blais, W. A. Blais, James Blake, Rebekah Bloyd, William O. Boggs, Sheldon Brivic, Carl W. Brucker, Michael K. Bryant, Edmund Cardoni, Michael Castro, Sister Consuela Chase, Sumita M. Chaudhery, Miriam Cheikin, Bell Chevigny, Gwen Cleghorn, Stan Coberly, Stephen Cooper, Doug Crowell, D. Dean Dunham, Jr., S. A. Eisenstein, Sister Mary Ely, O. B. Emerson, Barbara C. Ewell, Miriam Fankhauser, Moira Ferguson, Crystal M. Field, Sheila Fields, Frederick Fischer, Stephan P. Flores, Jean Gandesbery, Joan Gilson, Benjamin M. Glassner, Drewey Wayne Gunn, Don Haines, Vanessa Haley, G. Hayes, Thomas Hayes, Matthew Hearn, Donald Heidt, Edward A. Hungerford, Bruce W. Jorgensen, Gwynne Kennedy, William Keough, Joy L. King, Raymond Klejmont, Sarah Klinefelter, Linda A. Korbel, Dennis Leavens, Rebecca Lee, Nancy Lewis, Robert Lewis, Alexander S. Liddie, Stephen McCabe, David R. MacDonald, Anthony McGurrin, Robert McIlvaine, Gary McLouth, Lawrence W. Manglitz, Lois Marchino, Michael Steven Marx, Hilary Masters, Dan Masterson, Louise Meriwether, Oscar Miller, Jerry L. Mills, John S. Morris, Gabriel Motola, M. Motto, Paul Murphy, Kirsten Nelson, David Nicklin, Michael O’Rourke, P. M. Pallas, Susan Park, Michael P. Parker, Mildred B. Parker, Angela Peckenpaugh, Celeste Pernicone, Beryl Vili PREFACE Pittman, Richard E. Quaintance, Jr., Phyllis C. Ralph, T. J. Ray, Michael W. Raymond, R. J. Reilly, Carol F. Richer, Timothy E. Rook, Parama Roy, Elizabeth Guiney Sandvick, G. E. Schebendach, Harriet Polt Schmitt, Jeffrey Schwartz, James Shepard, Julia A. Smith, Marilyn B. Smith, Ellen Sprechman, Max Steele, H. Peter Stowell, James F. Sullivan, Stephen Terney, Wendolyn E. Tetlow, R. B. Thomas, Joyce Thompson, Richard J. Thompson, Arthur Tishman, H. K. Tjossam, Alice Tracy, Shirley Uber, Bernard Verwiel, Chery] Walker, Howard Wamsley, Sharon Warner, Elliot Wasserman, Deborah Weiner, Luke Whisnant, Chick White, Lana White, Larry Woiwode, Pauline Woodward, and Joseph J. Wydeven. | thank them for their help and encour- agement, which made the task of revising The Story and Its Writer much easier. Ann Charters Storrs, Connecticut Contents Preface v Introduction THE STORY AND ITS WRITER 1 ay Part One THE STORIES 7 RY Nathaniel Hawthorne YOUNG GOODMAN BROWN | 10 RELATED COMMENTARIES: Nathaniel Hawthorne, Passage from The American Notebooks 699 Herman Melville, Blackness in Haw- thorne’s “Young Goodman Brown” 701 Edgar Allan Poe THE CASK OF AMONTILLADO | 21 RELATED COMMENTARIES: Edgar Allan Poe, The Importance of the Single Effect in a Prose Tale 703 D. H. Lawrence, The Lust of Hate in Poe’s “The Cask of Amontillado” 706 Nikolai Gogol THE OVERCOAT 28 RELATED COMMENTARY: Vladimir Nabokov, Gogol’s Genius in “The Overcoat” 707 Herman Melville BARTLEBY, THE SCRIVENER 52 8 CONTENTS RELATED COMMENTARY: Herman Melville, Blackness in Hawthorne’s “Young Goodman Brown” 701 Leo Tolstoy THE DEATH OF IVAN ILYCH 82 Ambrose Bierce AN OCCURRENCE AT OWL CREEK BRIDGE 126 Sarah Orne Jewett A WHITE HERON | 135 Guy de Maupassant THE STRING 144 MISS HARRIET 149 RELATED COMMENTARIES: Guy de Maupassant, The Writer's Goal 710 Kate Chopin, On How She Stumbled upon Maupassant 713 Sean O’Faolain, Maupassant’s Interest in Elemental Passion in “Miss Harriet” 715 Kate Chopin REGRET 166 THE STORY OF AN HOuR | 169 RELATED COMMENTARY: Kate Chopin, On How She Stumbled upon Maupassant 713 Anton Chekhov A TRIFLE FROM REAL LIFE 173 THE LADY WITH THE PET DOG_ 178 RELATED COMMENTARIES: Anton Chekhov, Technique in Writing a Short Story 717 Vladimir Nabokov, Anton Chekhov's “The Lady with the Little Dog” 719 Edith Wharton ROMAN FEVER — 193 RELATED COMMENTARY: Edith Wharton, Every Subject Must Contain within Itself Its Own Dimensions 725 Stephen Crane THE OPEN BOAT 205 Willa Cather PAUL’S CASE 226 RELATED COMMENTARY: Willa Cather, Katherine Mansfeld 739 CONTENTS xi Sherwood Anderson DEATH IN THE WOODS 243 RELATED COMMENTARY: Sherwood Anderson, Form, Not Plot, in the Short Story 727 James Joyce ARABY 254 THE DEAD 259 RELATED COMMENTARY: Frank O’Connor, The Elaboration of Style and Form in Joyce’s “The Dead” 730 Franz Kafka THE METAMORPHOSIS 291 RELATED COMMENTARY: John Updike, Franz Kafka and “The Metamorphosis” 732 William Carlos Williams A NIGHT IN JUNE 329 RELATED COMMENTARY: William Carlos Williams, Notes on “A Beginning on the Short Story” 736 Isak Dinesen THE BLUE JAR 335 D. H. Lawrence ODOUR OF CHRYSANTHEMUMS — 338 Katherine Mansfield THE DOLL’S HOUSE 355 RELATED COMMENTARY: Willa Cather, Katherine Mansfeld 739 Katherine Anne Porter FLOWERING JUDAS 362 RELATED COMMENTARY: Katherine Anne Porter, The Origins of “Flowering Judas” 744 Isaac Babel My FIRST GOOSE_ 373 F. Scott Fitzgerald BABYLON REVISITED 377 xii CONTENTS William Faulkner A ROSE FOR EMILY 395 DRY SEPTEMBER 403 RELATED COMMENTARY: William Faulkner, The Meaning of “A Rose for Emily” 747 Emest Hemingway THE SNOWS OF KILIMANJARO_ 414 Zora Neale Hurston SPUNK 434 Richard Wright THE MAN WHO WAS ALMOST A MAN 440 Eudora Welty A WORN PATH 452 RELATED COMMENTARY: Eudora Welty, Is Phoenix Jackson’s Grandson Really Dead? 749 John Cheever THE SWIMMER 460 RELATED COMMENTARY: John Cheever, Why I Write Short Stories 752 Tillie Olsen I STAND HERE IRONING’ 47] Ralph Ellison BATTLE ROYAL 479 RELATED COMMENTARY: Ralph Ellison, The Influence of Folklore on “Battle Royal” 755 Bernard Malamud THE JEWBIRD 492 Doris Lessing TO ROOM 19 500 Shirley Jackson THE LOTTERY 527 RELATED COMMENTARY: Shirley Jackson, The Morning of June 28, 1948, and “The Lottery” 757 CONTENTS xii Grace Paley A CONVERSATION WITH MY FATHER 536 RELATED COMMENTARY: Grace Paley, A Conversation with Ann Charters 76] Nadine Gordimer TOWN AND COUNTRY LOVERS 542 RELATED COMMENTARY: Nadine Gordimer, The Flash of Fireflies 766 Flannery O’Connor A GOOD MAN IS HARD TO FIND 557 EVERYTHING THAT RISES MUST CONVERGE 569 RELATED COMMENTARY: Flannery O’Connor, The Element of Sus- pense in “A Good Man Is Hard to Find” 770 Gabriel Garcia Marquez A VERY OLD MAN WITH ENORMOUS WINGS © 583 Donald Barthelme THE PRESIDENT 589 Alice Munro How I MET My HUSBAND 594 John Updike FLIGHT 609 RELATED COMMENTARY: John Updike, Franz Kafka and “The Metamorphosis” 732 Raymond Carver WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE 623 RELATED COMMENTARY: Raymond Carver, Creative Writing ON ee Joyce Carol Oates WHERE ARE YOU GOING, WHERE HAVE YOU BEEN? 634 RELATED COMMENTARY: Joyce Carol Oates, The Making of a Writer 778 Margaret Atwood WHEN IT HAPPENS 649 XIV CONTENTS Bobbie Ann Mason SHILOH 658 RELATED COMMENTARY: Bobbie Ann Mason, A Conversation with Lila Havens 780 Alice Walker ROSELILY 671 Ann Beattie WAITING 676 Jamaica Kincaid GIRL 686 Louise Erdrich THE RED CONVERTIBLE 689 Part Two THE COMMENTARIES 697 a ~ Nathaniel Hawthorne PASSAGE FROM THE AMERICAN NOTEBOOKS 699 Herman Melville BLACKNESS IN HAWTHORNE’S “YOUNG GOODMAN BROWN” 701 Edgar Allan Poe THE IMPORTANCE OF THE SINGLE EFFECT IN A PROSE TALE 703 D. H. Lawrence THE LUST OF HATE IN POE’S “THE CASK OF AMONTILLADO” 706 Vladimir Nabokov GOGOL S°GENIUS IN “THE OVERCOAT’ 707 CONTENTS XV Guy de Maupassant THE WRITER’S GOAL 710 Kate Chopin ON HOW SHE STUMBLED UPON MAUPASSANT_ 713 Sean O’Faolain MAUPASSANT’S INTEREST IN ELEMENTAL PASSION IN “MISS HARRIET” 715 Anton Chekhov TECHNIQUE IN WRITING A SHORT STORY 717 Vladimir Nabokov ANTON CHEKHOV’S “THE LADY WITH THE LITTLE DOG” 719 Edith Wharton EVERY SUBJECT MUST CONTAIN WITHIN ITSELF ITS OWN DIMENSIONS” 725 Sherwood Anderson FORM, NOT PLOT, IN THE SHORT STORY 727 Frank O’Connor THE ELABORATION OF STYLE AND FORM IN JOYCE'S “THE DEAD” 730 John Updike FRANZ KAFKA AND “THE METAMORPHOSIS” 732 William Carlos Williams NOTES ON “A BEGINNING ON THE SHORT STORY” 736 Willa Cather KATHERINE MANSFIELD 739 Katherine Anne Porter THE ORIGINS OF “FLOWERING JUDAS” 744 William Faulkner THE MEANING OF “A ROSE FOR EMILY” 747 xvl CONTENTS Eudora Welty IS PHOENIX JACKSON’S GRANDSON REALLY DEAD? 749 John Cheever WHY I WRITE SHORT STORIES 752 Ralph Ellison THE INFLUENCE OF FOLKLORE ON “BATTLE ROYAL” 755 Shirley Jackson THE MORNING OF JUNE 28, 1948, AND “THE LOTTERY” 757 Grace Paley A CONVERSATION WITH ANN CHARTERS 76] Nadine Gordimer THE FLASH OF FIREFLIES 766 Flannery O’Connor THE ELEMENT OF SUSPENSE IN “A GOOD MAN IS HARD TO FIND” 770 Raymond Carver CREATIVE WRITING 101 774 Joyce Carol Oates THE MAKING OF A WRITER 778 Bobbie Ann Mason A CONVERSATION WITH LILA HAVENS 780 A BRIEF HISTORY OF THE SHORT STORY 785 THE ELEMENTS OF FICTION 795 WRITING ABOUT SHORT STORIES 809 GLOSSARY OF LITERARY TERMS 833