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of Ou ies rse r lv to e S s I G 1 2 C 0 S 2 E - 9 S 1 h 0 o 2 r t s S e i t r o Edited to help students in their preparation for IGCSE English Literature Exams in May 2019, 2020, and 2021 by Alexander G. Z. Myers, PhD. TABLE OF CONTENTS* no. 2 The Fall of the House of Usher Edgar Allan Poe 4 no. 7 The Open Boat Stephen Crane 25 no. 8 The Moving Finger Edith Wharton 49 no. 18 There Will Come Soft Rains Ray Bradbury 66 no. 23 The Lemon Orchard Alex La Guma 75 no. 32 Secrets Bernard MacLaverty 83 no. 33 The Stoat John McGahern 93 no. 36 Journey Patricia Grace 104 no. 37 The Bath Janet Frame 118 no. 48 On Her Knees Tim Winton 127 *This selection of 10 short stories may be found in Stories of Ourselves: The University of Cambridge International Examinations Anthology of Short Stories in English (Cambridge University Press). All rights reserved. IGCSE Short Stories "The Fall of the House of Usher" by Edgar Allan Poe (1813) A About the Author — Edgar Allan Poe (1808 - 1848) n January 19, 1809, Edgar Allan Poe was born in Boston, OMassachusetts. Poe’s father and mother, both professional actors, died before the poet was three years old, and John and Frances Allan raised him as a foster child in Richmond, Virginia. John Allan, a prosperous tobacco exporter, sent Poe to the best boarding schools and later to the University of Virginia, where Poe excelled academically. After less than one year of school, however, he was forced to leave the university when Allan refused to pay Poe’s gambling debts. Poe returned briefly to Richmond, but his relationship with Allan deteriorated. In 1827, he moved to Boston and enlisted in the United States Army. His first collection of poems, Tamerlane, and Other Poems, was published that year. In 1829, he published a second collection entitled Al Aaraaf, Tamerlane, and Minor Poems. Neither volume received significant critical or public attention. Following his Army service, Poe was admitted to the United States Military Academy, but he was again forced to leave for lack of financial support. He then moved into the home of his aunt Maria Clemm and her daughter Virginia in Baltimore, Maryland. Poe began to sell short stories to magazines at around this time, and, in 1835, he became the editor of the Southern Literary Messenger in Richmond, where he moved with his aunt and cousin Virginia. In 1836, he married Virginia, who was thirteen years old at the time. Over the next ten years, Poe would edit a number of literary journals including the Burton’s Gentleman’s Magazine and Graham’s Magazine in Philadelphia and the Broadway Journal in New York City. It was during these years that he established himself as a poet, a short story writer, and an editor. He published some of his best-known stories and poems, including “The Fall of the House of Usher," “The Tell-Tale Heart," “The Murders in the Rue Morgue," and “The Raven.” After Virginia’s death from tuberculosis in 1847, Poe’s lifelong struggle with depression and alcoholism worsened. He returned briefly to Richmond in 1849 and then set out for an editing job in Philadelphia. For unknown reasons, he stopped in Baltimore. On October 3, 1849, he was found in a state of semi-consciousness. Poe died four days later of “acute congestion of the brain.” Evidence by medical practitioners who reopened the case has shown that Poe may have been suffering from rabies. Poe’s work as an editor, a poet, and a critic had a profound impact on American and international literature. His stories mark him as one of the originators of both horror and detective fiction. Many anthologies credit him as the “architect” of the modern short story. He was also one of the first critics to focus primarily on the effect of style and structure in a literary work; as such, he has been seen as a forerunner to the “art for art’s sake” movement. French Symbolists such as Mallarmé and Rimbaud claimed him as a literary precursor. Baudelaire spent nearly fourteen years translating Poe into French. Today, Poe is remembered as one of the first American writers to become a major figure in world literature. 4 Alexander Myers English, Grades 9-12 [email protected] B Key Concepts — Gothic Literature othic fiction began as a sophisticated joke. Horace Walpole first applied the word ‘Gothic’ Gto a novel in the subtitle – ‘A Gothic Story’ – of The Castle of Otranto, published in 1764. When he used the word it meant something like ‘barbarous’, as well as ‘deriving from the Middle Ages’. Walpole pretended that the story itself was an antique relic, providing a preface in which a translator claims to have discovered the tale, published in Italian in 1529, ‘in the library of an ancient catholic family in the north of England’. The story itself, ‘founded on truth’, was written three or four centuries earlier still (Preface). Some readers were duly deceived by this fiction and aggrieved when it was revealed to be a modern ‘fake’. The novel itself tells a supernatural tale in which Manfred, the gloomy Prince of Otranto, develops an irresistible passion for the beautiful young woman who was to have married his son and heir. The novel opens memorably with this son being crushed to death by the huge helmet from a statue of a previous Prince of Otranto, and throughout the novel the very fabric of the castle comes to supernatural life until villainy is defeated. Walpole, who made his own house at Strawberry Hill into a mock-Gothic building, had discovered a fictional territory that has been exploited ever since. Gothic involves the supernatural (or the promise of the supernatural), it often involves the discovery of mysterious elements of antiquity, and it usually takes its protagonists into strange or frightening old buildings. Gothic Motifs Gothic is a literary genre, and a characteristically modern one. The word ‘genre’ comes from the Latin ‘genus’ which means ‘kind’. So to ask what genre a text belongs to is to ask what kind of text it is. A genre isn’t like a box in which a group of texts all neatly fit and can be safely classified; there is no essence or a single element that belongs to all Gothics. It is more like a family of texts or stories. All members of a family don’t look the same and they don’t necessarily have a single trait in common, but they do have overlapping characteristics, motifs and traits. The genre of Gothic is a particularly strange and perverse family of texts which themselves are full of strange families, irrigated with scenes of rape and incest, and surrounded by marginal, uncertain and illegitimate members. It is never quite clear what is or is not a legitimate member of the now huge Gothic family, made up not just of novels, poems and stories but of films, music, videogames, opera, comics and fashion, all belonging – and not quite belonging – together. But they do have some important traits in common. 5 Alexander Myers English, Grades 9-12 [email protected] Strange places It is usual for characters in Gothic fiction to find themselves in a strange place; somewhere other, different, mysterious. It is often threatening or violent, sometimes sexually enticing, often a prison. In Bram Stoker’s 1897 Dracula, for example, Jonathan Harker, a young lawyer’s clerk, suddenly finds himself trapped within Castle Dracula. That scene occurs in Central Europe, but often in classic Gothic fiction – in the novels of Ann Radcliffe for example – it takes place in distant, marginal, mysterious southern Europe; and it could just as easily be somewhere like Satis House in Great Expectations, a decaying mansion just down the road. Clashing time periods Just as places are often mysterious, lost, dark or secret in Gothic fiction, so too are its characteristic times. Gothics often take place at moments of transition (between the medieval period and the Renaissance, for example) or bring together radically different times. There is a strong opposition (but also a mysterious affinity) in the Gothic between the very modern and the ancient or archaic, as everything that characters and readers think that they’ve safely left behind comes back with a vengeance. Sigmund Freud wrote a celebrated essay on ’The Uncanny’ (1919), which he defined as ‘that class of the frightening which leads back to what is known of old and long familiar’.1 Gothic novels are full of such uncanny effects – simultaneously frightening, unfamiliar and yet also strangely familiar. A past that should be over and done with suddenly erupts within the present and deranges it. This is one reason why Gothic loves modern technology almost as much as it does ghosts. A ghost is something from the past that is out of its proper time or place and which brings with it a demand, a curse or a plea. Ghosts, like gothics, disrupt our sense of what is present and what is past, what is ancient and what is modern, which is why a novel like Dracula is as full of the modern technology of its period – typewriters, shorthand, recording machines – as it is of vampires, destruction and death. Power and constraint The Gothic world is fascinated by violent differences in power, and its stories are full of constraint, entrapment and forced actions. Scenes of extreme threat and isolation – either physical or psychological – are always happening or about to happen.

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