FullReads

My theory does not wholly account for the fact (no theory wholly accounts for any fact), and I own that the same objections would lie from the reader against a number of short stories in a magazine. But it may be that the effect is not the same in the magazine because of the variety in the authorship, and because it would be impossibly jolting to read all the short stories in a magazine ‘seriatim’. On the other hand, the identity of authorship gives a continuity of attraction to the short stories in a book which forms that exhausting strain upon the imagination of the involuntary co-partner.

II.

Then, what is the solution as to the form of publication for short stories, since people do not object to them singly but collectively, and not in variety, but in identity of authorship? Are they to be printed only in the magazines, or are they to be collected in volumes combining a variety of authorship? Rather, I could wish, it might be found feasible to purvey them in some pretty shape where each would appeal singly to the reader and would not exhaust him in the subjective after-work required of him. In this event many short stories now cramped into undue limits by the editorial exigencies of the magazines might expand to greater length and breadth, and without ceasing to be each a short story might not make so heavy a demand upon the subliminal forces of the reader.

If any one were to say that all this was a little fantastic, I should not contradict him; but I hope there is some reason in it, if reason can help the short story to greater favor, for it is a form which I have great pleasure in as a reader, and pride in as an American. If we have not excelled all other moderns in it, we have certainly excelled in it; possibly because we are in the period of our literary development which corresponds to that of other peoples when the short story pre-eminently flourished among them. But when one has said a thing like this, it immediately accuses one of loose and inaccurate statement, and requires one to refine upon it, either for one’s own peace of conscience or for one’s safety from the thoughtful reader. I am not much afraid of that sort of reader, for he is very rare, but I do like to know myself what I mean, if I mean anything in particular.

In this instance I am obliged to ask myself whether our literary development can be recognized separately from that of the whole English- speaking world. I think it can, though, as I am always saying American literature is merely a condition of English literature. In some sense every European literature is a condition of some other European literature, yet the impulse in each eventuates, if it does not originate indigenously. A younger literature will choose, by a sort of natural selection, some things for assimilation from an elder literature, for no more apparent reason than it will reject other things, and it will transform them in the process so that it will give them the effect of indigeneity. The short story among the Italians, who called it the novella, and supplied us with the name devoted solely among us to fiction of epical magnitude, refined indefinitely upon the Greek romance, if it derived from that; it retrenched itself in scope, and enlarged itself in the variety of its types. But still these remained types, and they remained types with the French imitators of the Italian novella. It was not till the Spaniards borrowed the form of the novella and transplanted it to their racier soil that it began to bear character, and to fruit in the richness of their picaresque fiction. When the English borrowed it they adapted it, in the metrical tales of Chaucer, to the genius of their nation, which was then both poetical and humorous. Here it was full of character, too, and more and more personality began to enlarge the bounds of the conventional types and to imbue fresh ones. But in so far as the novella was studied in the Italian sources, the French, Spanish, and English literatures were conditions of Italian literature as distinctly, though, of course, not so thoroughly, as American literature is a condition of English literature. Each borrower gave a national cast to the thing borrowed, and that is what has happened with us, in the full measure that our nationality has differenced itself from the English.