STEPHEN CRANE an Annotated Bibliography of Secondary Scholarship: an Update

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STEPHEN CRANE An Annotated Bibliography of Secondary Scholarship: An Update

The following materid supplements my earlier bibliography (New Yo& G.K. Hall, 1992). I have retained the subject headings and the numbering indicates where each annotation will appear in any antici- pated revised edition of my 1992 volume.

Biography l.la Benfey, Christopher. The Double Lifeof Stephen Crane. New York: Knopf, 1992. xiv+294. A fascinating and seminal biography. Benfey's thesis is that the secret to understanding Crane is to notice that he firstimagined events and then he lived them, seeking verification or correction of his hypothe- ses. "The shape of Crane's career has a peculiar fascination for the biographer. If most writers tend to write about their experience, however disguised, Crane did the reverse; he uied to live what he'd already written. . . . For Crane lived his life backwards, or rather he wrote it forwards." This challenging and fruitful thesis has a basis in a number of events and works in Crane: he imagined slum life in Maggie before he moved there; he depicted combat in Red Badge before he became a war correspondent; and he wrote several shipwreck narratives before he was forced to endure "The Open Boat." That nucleus aside, Benfey's thesis fades out in Chapters 3 and 4 and disappears from Chapters 5 and 6. Solomon's thesis (2.15) that he's best works are parodies of nineteenth-cennuy genres had a similar strong-start-then-fade pattern. The sustainability of Benfey's thesis aside, his book remains a provocative and stimulating account of Crane's life with the considerable added bonus of a number of elegant and perceptive comments on themes in Crane's works. 1.4a Crane, Robert Kellog, compiler. Stephen Crane's Family Heritage. Stephen Crane Studies 4.1 (Spring 1995): 1-47. Interesting sleuthing by the grandson of Wilbur Fisk he, Stephen's older brother. Seven generations of Crane and eight generations of Pecks are traced Grandson Crane provides interesting information on Crane's mother and father, and details on the famdy burial plot. (Note: this compilation takes up the whole issue of Stephen Crane Studies 4.1).

1.10a Sufrin, Mark Stephen Crane. New York. Atheneum, 1992. 155. Classed as "juvenile fiction," Sufrin's book has two serious flaws: a) it uncritically accepts Beer (1.1) and the memoirs of Willa Cather (6.9); and b) it fails to keep in mind the young adults it is designed to reach. Sufrin stresses Crane's war correspondent activities, apparently for a more interesting and action-filled narrative. Crane's major works are discussed; Maggie fares best. Young readers might staxt with Franchere's fictionalized biography (1.1) or even better yet, read Colvert's real one (1.4)

1.10b Wertheim, Stanley and Paul Sorrentino. The Crane Log: A Documentary Life of Stephen Crane, 1871-1900. New Yo& G.K. Hall, 1994. 500. An indispensable resource on Crane's life and works. Biographers since Beer (and there have been a half-dozen) have found Crane not only elusive but also hypnotic to the point that Crane and his biographers meld into sorts of third person alter-egos. In "The Angel Child" the narrator asks,"How do you pronounce the name of that barber up there on Bridge Street hill?" Crane continues, "before anyone could prevent it the best minds of the town were splintering their lances against William Neeltje's signboard" Wertheirn and Sorrentino are among the best minds at work on Crane, and there is no splintering of lances here. Not only does this pair know the ins and outs of Crane's life, they are knowledgeable about Crane's works and the secondary literature on him and his works. The dividend reaped from such breadth and depth of knowledge is that their wonderful chronological and documentary log gives context and meaning to vutd.ly every item in the Crane opus. The general editor of the G.K. Hall "Log Series" comments in the preface, "In The Crane Log Wertheh and Sorretino attempt to provide a truthful record- based on documented fact, not opinion, conjecture, speculation, wish fulfillment, or +-of all the known events in the life of Stephen Crane. This record should serve as the foundation for all subsequent biography, biographical criticism, and literary interpretation." To this should be added that the joint scholarship here is some of best ongoing and self-comective research in contemporary American artsand letters. (lhs book has been extensively reviewed. John Clendenning is more competent to judge than most; see his review in American Literary Realism 27 [1995]: 92-94.)

1.16a "Crane, Stephen Townley." American Cultural Leaders: From Colonial Times to the Present. Ed Justin Harmon. Santa Barbara: ABCCLIO, 1993. 99-101. Standard reference book entry.

1.45a Benfey, Christopher. "Stephen Crane's Father and the Holiness Movement." Courier25 (1990): 27-36. Helpful information on Crane's father whose intellectual, social consciousness version of Methodism caused the Holiness Move- ment leaders (including his father-in-law [Crane's maternal grandfather] George T. Peck) to suppress Crane's father's books and pamphlets. The Holiness reform faction wanted to revive an intense, emotional personal variety of Methodism. Rep~tedas Chapter One of The Double Lifeof Stephen Crane (1.1 a).

1.65a Chouder, Ken. "A Test of Character: The Me of Stephen Crane." Smithsonian 25.10 (January 1995): 109-21. Bio- graphical sketch with a few comments on Red Badge and Crane's late war dispatches. Heady influenced by Benfey's (l.la) "imagine it, then live it" theme. Contains a few errors: for example, Chouder confuses Crane with Sergeant @ck in "Marines Signaling under Fire at Guantanarno."

1.66a Clendenning, John. "Thornas Beer's Stephen Crane:The Eye of His Imagination." Prose Studies 14 (1991): 68-80. An essential article on Crane's biography and biographers. A detailed analysis of the extent and reasons for Beer's fabricated (and sanitized) images of Crane in Stephen Crane (1.1). Clendenning argues that though Crane was "volcanic, seedy and fundamentally irreverent," Beer's Crane was "recklessly generous" and a perfect gentleman. Beer "erased irregularities from Crane's life and rewrote letters to match his vision" of himself and his image of Crane.

1.66b . "Rescue in Benyman's Crane." Recovering Berry- man: Essays on a Poet." Eds. Richard J.Kelly and Alan K. Lathorp. Ann Arbor: U of Michigan P, 1993. 179-87. Clen- denning persuasively argues that "Berryman's biography of Crane is substantially a self-portrait." Based on a worksheet in which Benyman outlines Crane's "primal scene," Clendenning shows that "identifymg strongly with Crane, yet lacking crucial information, Berryman delved into his own life in order to £ill his subject's interstices . . . . [so that iril searching for Crane, we find Benyman everywhere." An interesting and provocative piece.

1.66~ . "Stephen Crane and His Biographers: Beer, Berryman, -Schoberlin, and Stallman." American Literary Realism 28 (1995): 23-57. An important essay uncovering the elements of autobiography that have influenced, and in many cases, sub- verted the four full-length Crane biographies. Clendenning's long and insightful discussion gives fascinating information on the four biographers and helps us understand why Crane remains elusive. Certain to be a Crane scholarship landmark

1.66d . "Crane and Herningway: A Possible Biographical Connection." Stephen Crane Studies 5 (1996): 2-6. In this brief note Clendenning speculates that some of the affmities between Crane and Herningway might be explained Crane's acquaintance with Grace Hall Hemingway (Ernest's mother). Both lived for a time at the Art Students League and Clenden- ning sees Grace Hall as a possible prototype for both Helen Trent and Grace Fanhall, heroine of The Third Violet.

1.74a Crane, Robert K. "Famdy Matters: Stephen Crane's Brother Wdbur." Stephen Crane Studies 3.2 (1994): 13-18. Bio- graphical details about Crane's brother Wdbur Fisk Crane. See 1.4a for more information on Crane's ancestors, siblings, and "descendants."

1.76a Davis, Linda H. "The Red Room: Stephen Crane and Me." American Schohr 64.2. (1995): 207-20. Davis explores parallels in her own and be's life. Several themes discussed herefascination with fire, the color red, upturned faces, death, and bodily decay-are sure to figure prominently in Davis's biography on Crane.

1.79a Edel, Leon. "Life Plans [review of Benfey's The Double Life of Stephen Crane]." Y%e New Republic 207 (21 December 1992): 40-42. A perceptive and generally favorable review of Benfey's biography of Crane (1.la).

1.95a Gale, Robert. "Stephen Crane." me Gay Nineties in America: A Cultural Dictionary. Westport, CT: Greenwood Press, 1992. 76-80. Crane is given generous space in this dictionary. The main item, a typical biographical sketch, based on standard biographies, stresses that "in college he excelled only at boxing [?Iand baseball" and concludes "Stephen Crane was a careless, pioneering literary genius who wrote with many sustained flashes of brilliance, especially in fiction, but who was addicted to alcohol and nicotine and led a suicidally undisci- plined life." The Gale volume also contains short plot summaries and critical broad strokes on some fifteen of Crane's important works.

1.10Oa Gandal, Keith. "A Spiritual Autopsy of Stephen Crane." Nineteenth-Centuv Literature 51.1 (1997): 500-530. An insightful and rich meditation on why Cqne died at such a young age. Gandal's spiritual autopsy suggests, "Crane sought out situations that could satisfy at once his compulsion to disap- pear and his need to serve; he would satisfy both his personal and the common god at once. . . . Crane's disease pattern is unmistakable: when the excitement stops, when the promise of action and movement ends, when he is no longer in the pmc- ess of disappearing, when he is faced with captivity in the mundane, the civilized, and the domestic, he gets ill." For his diagnosis, Gandal takes a close look at Crane's poetry and his last works, especially the character Timothy Lean in "The Up turned Face."

1.105a Guldager, Carl. "Stephen Crane: The Wanderer." Modern Age 37 (1994): 18-26. A competent biographical sketch with a few comments linking Crane's life and works.

1.115a Gullason, Thomas A. "Stephen Crane at Claverack College: A New Reading." Courier 27 (1992): 33-46. Important details on Crane's pre-college education. Crane left Pennington Seminary because he was accused (falsely) of hazing; he did very well at Claverlack, making "quick progress and success in the military department." More importandy, Gullason stresses the array of intellectual and artistic oppommities Crane availed himself of at Claverlack, especially his involvement in the lively student publication, T%leVidette. l.ll5b . "Stephen Crane at Lafayette College: New Perspec- tives." Stephen Crane Studies3.2 (1994): 2-12. A painstak- ing look at Crane's one semester stay at Lafayetre, especially the notorious hazing incidents and whether they triggered his transfer to Syracuse University.

1.115~ . "Stephen Crane at Syracuse Universiry: New Find- ings." Courier29 (1994): 127-40. An iteration of 1.115a and 1.115b, this time for Crane's brief stay at Syracuse. Gullason's sleuthing is always reliable and illuminating.

1.15 la Kazin, Alfred "Gathering Up the Enduring and Unmistakable Art of Stephen Crane." New York Herald TribuneBook Review (30 November 1952): 1, 17. An essay review on Stallman's Stephen Crane: An Omnibus(2.16). Notable for Kazin's wonderful comments on Crane's originality and style: "The most obvious fact about Crane . . . was that he was an original, that he had a sharp and defiantly luminous view of everythmg in sight and that he combined quite remarkable disinterestedness with the fervency of a great writer over-using his strength."

1.171a McInemey, John. "Constructing Crane for the Screen." Stephen Crane Studies 3.2 (1994): 19-23. The author's account of writing and filming "To Escape My Fate" (1.173b) that depicted Crane's life.

1.172a Mobilio, Albert. "Are You Experienced? Stephen Crane's School of Light Knocks." Voice Literaty Supplement@ec. 1992): 23-24. A review of Benfey's biography @la) agreeing with Benfey's view of a pessimistic Crane who imagined it first, so he could experience it later.

1.173a Musto, Tom. "Filming To Escape My Fate." Stephen Crane Studies." Stephen Crane Studies 3.2 (1994): 24-25. A flmmaker's account of producing "To Escape My Fate," a depiction of Crane's life. See 1.171a and 1.173b.

1.173b Musto, Tom, director. To Escape My Fate, The Movie. Prod Tom Musto. Screenwriter John McInemy. Tom Musto Productions, Wacs-Barre, PA, 1993. 56 minutes. An interesting dramatization of Crane's life structured as an interview conducted by a newspaper reporter interviewing Crane about his life and work.

1.220a Wertheim, Stanley. "Another Diary of the Reverend Jonathan Townley he." Resources for American Literaty Study 19 (1993): 35-49. More on Crane's father which clears up details about Crane's early life. For example, he began school at six, on schedule, not at the age of eight as Beer has it. Also, more on the Rev. Jonathan Townley Crane's "fall from hierar- chical grace" due to his rejection of the Holiness Movement. On this last point, see Benfey (l.la and 1.45a).

1.220b . %o Was 'Amy Leslie'?" Stephen Crane Studies 2.2 (1993): 29-37. A short piece on the facts that can be estab- lished on Amy Leslie- even Wertheim's persistence and skill were not able to unearth much.

1.220~ . "Stephen Crane Memorialized" Stephen Crane Studies 3.1 (1994): 19-21. A brief account on Crane's induc- tion into the poet's comer of the Cathedral Church of St. John the Divine in New York City, 17 October 1993.

1.220d Wertheim, Stanley and Paul Somentino. "Thomas Beer: The Clay Feet of Stephen Crane Biography." American Literary Realism 22 (1990): 2-16. A full-scale account of the case al- leging Beer's fabrication of letters and incidents in his Stephen Crane (1.1). More convincing and detailed than a similar ar- gument made in the Introduction of The Correspondence of Stephen Crane (13.4). Here, the authors argue "clearly a good number, probably most, of the letters, anecdotes and charac- terizations in Beer's biography are either spurious or severely scrambledn and they conclude, "in light of Beer's fabrications and deceptions, those letters, accounts of incidents and per- sons, and chronology, which cannot be verified outside of Beer's writings should be extirpated from Crane biography and criticism." General Criticism

2.la Bias, H.S.S. Stephen Crane: Pioneer in Technique. New Delhi: Gown Publications, 1988. vii+ 117. Bias's short study seeks to remedy India's lack of appreciation for "the richness and variety of hs [G-ane's] craft due to the nod-availability of his work to the common reader." Unfortunately, the remedy is worse than the problem. Bias's simplistic, unorganized, and unoriginal "study" averages a dozen misspellings and a couple of faulty secondary scholarship citations per short chapter. It will probably take an interlibrary loan to look at this book; don't bother.

2.3a Brown, Bill. The Material Unconscious: American Amusement, StephenCrane, and the Economies of Pkzy. Cambridge: Hamad UP, 1997. xiii+335. A challenging, con- voluted, inventive, often obtuse, sometimes pompous and far- fetched reinterpretation of Crane's works. Near the end of his book, Brown summarizes his thesis: "as I have suggested elsewhere in this book, that if, traveling to the West, to the war in Greece, and to England, Crane forgets the material culture es- tablished by the amusement system emerging on the New Jer- sey shore, in the Bowery, and on Coney Island, that culture nonetheless continues to resurface in, and to inform, hs subsequent work" In his several chapters, Brown's point of departure focuses on an item of material culture or a popular culd practice, which is then used to examine of Crane's work. Thus, the carnival and amusement park frame his treatment of his early Ocean Grove pieces, like "The Pace of Youth;" gambling, his western stories, especially "The Blue Hotel;" rowing, "The Open Boat;" football and spectatorship, The Red Badge of Courage; childhood toys, The Whilomville Tales, especially, "The Stove"; and photography, "The Monster." If you find Fried (2.6) helpful and informative, Brown's The Material Unconsciouswill appeal to you.

2.13a Mariani, Giorgio. Spectacular Narratives: Representations of Chss and War in Stephen Crane and the Amm'can 1890s. New York Peter Lang, 1992. 184. Mariani argues that Gane both relied upon and critiqued the popular literature of the day. "A dialectical account of his work should . . . stress hi% its reliance on commercial literature as .ceallas its desire to break away from what one could call the shallow totality of popular modes." Two sorts of literature are explored: slum literature (Maggie) and popular war literature (Red Badge). Mariani's general contention is convincing but not particularly useful or illuminadng. Still, Mariani has arresting comments on Crane's style and on Red Badge as an antiwar novel.

2.14a Robertson, Michael. Stephen Crane, Journalismand the Making of Modern American Literature.New York: Co- lumbia UP, 1997. 272. A ground-breaking, overdue, and irn- portant contribution. Robertson's begins by offering a compelling account of the suiking shift in attitude- from hostility to embrace- of American novelists between 1880 and 1920 toward journalism. His £irst chapter examines the William Dean Howells/Henry James posture of condescension about the "essential cheapness" of newspapers and reporters. His sixth and final chapter explores the Ernest Heming- way/Theodore Dreiser deliberate blurring, and more so, wel- come blending of fiction and journalism. In between, five deft and detailed chapters on Stephen Crane's journalism show that Crane was the catalyst of a ranarhable nunabout "from an antagonistic to a symbiotic relationship" between correspon- dents and novelists. Given Robertson's analysis, be's journalism can no longer be seen as apprentice juvenilia, an adjunct, or as a money-driven distraction from his "realn work of fiction. Chapter 2, "The Launching of Stephen Crane," is devoted to Crane's very early (1890-92) newspaper work Robertson shows that even as a twenty-year-old reporter Crane's "mature stylistic confidencen is obvious in some two-dozen "extrava- gantly and consistently ironic articles." Chapter 3, "Reporting the City New York Journalism," underscores and expands Robertson's central contention that Crane was unconcerned to separate his fiction from his journalism Since his New York sketches and journalistic reports were written after Mae,the journalism-as-a-warm-up-for-fiction theory can be laid to rest. Of special note, in this chapter, are Robertson's analysis of "a rigorous moral neutrality reinforced by a neudty of grammar and syntax" and his examination of Crane's skill at absorbing and experiencing the worlds of the maqjmbd and the afflu- ent." Chapter 4 treats Crane's travel journalism and provides insightful commentary on such important pieces as "Ne- braska's Bitter Fight for Life," "Mexican Lower Classes," "London Impressions," and "Stephen Crane's Own Story." Though Crane's war correspondence fills a volume of his collected works, Robertson's Chapter 5, "After W Badgz War Journalism," is the £irstdetailed examination of it "on its own terms. What a boon to Crane scholars and students of war journalism! Of Robertson's examination of dozens of dispatches, three analyses especdly stand out: Crane's ironic jwc- taposition of the momentous and the mundane in "An Impres- sion of the 'Concert,' " his celebration of the regular army (not the upper class Rough Rider thrill seekers so prominent in most press coverage) in "The Price of the Harness," and his tour-de-force melding of factual and fictional discourse, "War Memories."

2.14b Schaefer, Michael W. A Reader's Guide to the Short Stories of Stephen Crane. New York: G.K. Hall, 1996. xii+468. A solid and helpful scholarly resource. Schaefer "offers a distil- lation of the large body of historical and critical information as of the end of 1992 on Stephen Crane's short stories." Fhy- one stories are treated Obviously some decisions about "stories," "sketches," and "tales," and about length had to be made. On the first issue, Schaefer explains "I have decided to consider only those pieces that by general critical accord repre- sent Crane's 'major' work in the short-story genre." As to length, "The Monster" is included on the grounds that a short story reveals the character (not the development of a character). Thus,although the author himself called his piece a "novelette," Schaefer contends that Crane limited himself to revealing "the fundamental nature each [of the Whilomvillites] has had since the outset" of the story. Schaefer's procedure is to survey six elements for each story: Publication History, Cirrumstances of Composition, Sources and Influences, Relations to Other Crane Works, Critical Studies, and Works Cited. Schaefer is fair and mob- nusive with critics. The difficulty is that he is sometimes so evenhanded that the very best analyses are blended together with the tenuous ones. All in all, however, Schaefer has produced a contentious and daunting work of scholarship that be- ginners and Crane experts alike will surely consult.

2.17a Wertheirn, Stanley. A Stephen Crane Encyclopedia. Westport, CT: Greenwood Press, 1997. 413. Noted and stal- wart Crane scholar Wertheim states that his latest volume "seeks to increase the reader's knowledge of Stephen Crane's short but furiously creative life and to encourage a more extensive appreciation of his works." Wertheim's encyclopedic knowledge of Crane's life and works and the literature and culture of ftn&& America (and England) enables him to provide countless illuminating connections between characters, themes, symbols, and images within allthe works and genres of Crane's o9ane. Another wel- come Wertheim addition to Crane secondary scholarship.

2.20a "Crane, Stephen." The Reader's Adsiser. New Providence, NJ: u.Bowker, 1994. 741-43. A thoroughly unreliable sketch of Crane's life and work And, if possible, an even more unreliable bibliography of books by and about Crane- several titles and authors are badly scrambled

2.20b "Stephen Crane." Profiles in Ammican History, Vol. 5: Reconstruction to the Spanish American War. Ed. Joyce Moss and George Wilson. New Yo& U. X. L., 1994. 172-83. Standard military reference book entry on Crane.

2.20~ Wennin, Elizabeth. "Crane, Stephen (T'ownley) 1871-1900 (Johnston Smith)." Contemporary Authors. Ed. Donna Olendorf. Vol. 140. Detroit: Gale Research Inc. 1993. 96- 100. A reliable, if not unremarkable, full length (for research volume) sketch of Crane's life and works. A good primary and secondary bibliography and a nice bonus of the film, fikn strip and voice recordings of various works of Crane.

2.20d "Stephen Crane." Profiles in American History, Vol. 5: Reconstruction to theSpanish American War. Ed. Joyce Moss and George Wilson. New Yo&- U. X. L., 1994. 172-83. Standard military reference book entry on Crane.

2.32a Aneja, M.S. "Stephen Crane: 'a long logic.' " Punjab Univer- sity Research Bulletin23 (April 1992): 83-92. An unsuccess- ful attempt to analyze Crane- a blizzard of comments without theme or thesis.

2.40a Bell, Michael Davitt. "Irony, Parody, and Transcendental Realism: Stephen Crane." The Problem of American Real- ism: Studies in the Cultural History of a Literary Ideal. Chicago: U of Chicago P, 1993. 131-48. An examination of Crane's ironic and parodic styles and the difficulties these styles cause in classing Crane as a realist/natudst. Bell argues that the ironic self-consciousness of Crane's prose puts him at cross-purposes with Nonis, Howells, et al., who, unlike Crane, did not seek to "be true to experience and to be literary at the same time." Befi treatment emphasizes Maggie and Red Badge.

2.50a Brown, Bill. "Writing, Race, and Erasure: Michael Fried and the Scene of Reading." Critical Inquiry18 (1992): 387-402. Brown tries to explicate and "follow Fried's line (2.6 and 2.77) of thinking to its limits." Of more interest to Friedians than Craneans.

2.50b Brown, Stephen M. "Sometimes Less is Less: Recent Books by Michael Fried" Papers on Languageand Literature27 (1991): 399-412. A negative notice on three recent books by Fried Fried's comments on Crane (2.6 and 2.77) are indeed "postscripts" and, as others have commented, Brown finds that Fried explores. . Fried, not the literature or the art he claims to be exammmg.

2.60a Clendenning, John. "Maggie and New Directions: The American Literature Association Conference, 1993." Stephen CraneStudies 2.2 (1993): 50-52. A report on the Crane society sessions at the fourth ALA conference in Baltimore, 28-30 May 1993.

2.60b . "Crane Studies in San Diego." Stephen Crane Studies 3.2 (1994): 34-36. A report on the Crane society sessions at the fifth ALA conference in San Diego, 1-5 June 1994.

2.63a Colvert, James. "Stephen Crane and Postmodem Criticism" Stephen Crane Studies 1.1 (1992): 2-8. Colvert convincingly argues that despite the hype associated with posunodem, post stm&, and deconsuuctionist theories, "the traditional and literary values that radical theory once denied are again on the critical agenda." Several recent examples of Crane scholarship that have "adapted ideas from radical theory to traditional scholarly methods" are briefly noted 2.63b . "Crane, Stephen." Reference Guide to Short Fiction. Ed. Node Watson. Detroit: St. James Press, 1994. 144-46. Despite standard format and length restrictions dic- tated by reference book format, Colvert manages an arresting and insightful mini-essay. He argues that given the wide range and variety of Crane's fiction, there stiu is "a remarkable unity in his writing, partly because of the pronounced and consistent interpenetration of theme . . . the vain hero and his alienation in nature figures in his work from firstto last."

2.63~ . "Stephen Crane and Posunodem Theory." American Literav Realism 28 (1995): 4-22. A brief treatment of recent posunodern analyses of Crane's work. While much decon- structionist commentary can be "implausible or far-fetched," its abandonment of the absolutisms of older formalism allows critics more interpretative freedom, a freedom Colvert notes that has led to a number of interesting essays on Crane.

2.63d . "Crane Studies in Baltimore." Stephen Crane Studies 4.2 (1995): 60-63. A report on the Crane Society session, "TheRed Badge of Courage:Centennial Reconsidera- tions," at the sixth ALA conference in Baltimore, 26-28 May 1995.

2.63e . "Crane Studies in San Diego." Stephen Crane Studies 5 (1996): 16-26. Summaries of the six papers spon- sored by the Stephen Crane Society and presented at the sev- enth ALA conference in San Diego, 30 May-2 June 1996.

2.67a Gisman, William. "Stephen Crane and the Group: A Retro- spective of the Crane Session at the American Literature Asso- ciation Conference, 1990." Stephen Crane Studies 1.1 (1992): 21-23. Crisman reports on the Crane Society sessions at the first ALA conference in San Diego, 3 1 May-3 June 1990.

2.67b . "Signaling under Fire: Stephen Crane's Spanish- American War Writings at the American Literature Association Conference, 1991." Stephen CraneStudies 1.2 (1992): 9-11. Report on the Crane Society session at the second ALA conference in Washington, D.C., 24-26 May 1991.

2.67~ . "Entanghg Alliances in Stephen Crane's Poetry and Fiction: The American Literature Association Conference, 1992. Stephen Crane Studies 2.1 (1993): 19-21. Report on the Crane Society sessions at the third ALA conference in San Diego, 28-30 May 1992.

2.72a Dooley, Pauick K. "The Humanism of Stephen Crane." The Humanist 56.1 (January/February 1996): 14-17. Dooley examines "the metaphysical and epistemological commitments that led Crane to a view of human action and an ethic of social solidarity which are explicitly humanistic." Crane's western experiences of "the value of courage and the worth of trying . . . prepared the way for the mature philosophy of human actions expressed in his greatest short story, The Open Boat.' " Republished in SIRS Renaissance: Humanities Electronic Database,HJanuary 1997.

2.76a Feast, James. "Stephen Crane." Critical Survey of Fiction. Ed. Frank N.Mad. rev. ed. Detroit Salem Press, 1993. 644- 55. A longish, sound reference book entry. Feast attributes the elusiveness and power of Crane's stories to a mix of "two nearly incompatible literary stylesn-literary naturalism and impressionism. "The Open Boat" and "The Blue Hotel" are perceptively examined in terms of the creation and f+tyY re- spectively' of human solidarity.

2.77a Fried, Michael. "Response to Bill Brown." Crih'cal Inquiry 18 (1992): 403-10. Fried responds to Brown (2.50a) by re- peating what he has already written. As noted already, this "dialogue" is of more interest to Friedians than Craneans.

2.81a Gendin, Sidney. "Was Stephen Crane (or Anybody Else) a Naturalist?" Cambridge Quarterly 24 (1995): 89-101. Gendin's chatty, borderline-cutsy piece is neither helpful nor informative. Beginning with two epigraphs: "bewas a naturalist by birth" (Kazin) and "Crane was only an impressionist" (Conrad). Gendin sides with Conrad, then waxes lyn- cal about obvious differences between philosophical theories and novels.

2.90a Gullason, Thomas A. "Stephen Crane and the New York Tribune:A Case Reopened" RALS 22 (1996): 182-86. Gul- lason discovered reviews of several of Crane's later works in the New York Tribunewhich indicate that despite being fired over the Mechanic's Parade article (21 August 1892) and despite the Tribune's caustic reviews of be's early and middle works, the Tribune eventually gave Crane a fairreading.

2.93a Haldar, Indrani. "Perspective and Point of View in Impres- sionist Painting and Fiction." Proceedings of the XIIth Congress of the International ComparativeLiterature As- sociation. Ed. Roger Bauer. Munich: Iudicium, 1990. 4562- 66. A short, insightful conference paper reprinted as part of a proceeding. Haldar explains that Impressionism's awareness of "multiple dimensions of experience in a changing, pluralistic world" leads to a stress on "pervasive ambiguity and duality" which he findsin Crane's works.

2.93b Hall, Kathy. "Community Activists Join with Artists to Save Stephen Crane's Fandy Home." Stephen Crane Studies 6.1 (1977): 21-23. Hall describes the heartening and generous efforts of community volunteers and artistsin the Asbury Park vicinity to restore the home where Crane lived intermittently from 1883 to his college years.

2.96a Hayes, Kevin J. "Crane Reviews in the Manchester Guard- ian." Stephen Crane Studies 2.2 (1993): 38-49. An irnpor- tant resource. Hayes makes brief comments before reprinting twelve good-sized, enthusiastic reviews of Crane's works published in the Manchester Guardian from 1895 to 1912. Noteworthy comments on &me's style and his psychological acumen.

2.104a Hoffman, Daniel. "Crane. Stephen." Reference Guide to American Literature. Ed. Jim Kamp. 3rd ed Detroit: St. James Press, 1994. 217-19. Standard reference book entry. Hoffman briefly explores the contention "there is war everywhere in Crane's work." On Crane's influence Hoffman argues, "his theme of grace under pressure in a masculine world of conflict provided Ernest Hemingway with a model, while Crane's metaphoric, ironic style anticipates Flannery O'Comor."

2.121a "Stephen Crane." Twentieth-CenturyLiterary Criticism. Eds. Paula Kepos and Dennis Poupard. Vol. 32. Detroit: Gale Research, 1989. 132-90. An expanded and again updated version of Poupard's fairly lengthy reprinting (2.164a and 2.164b) of representative commentary criticism on Crane's life and works.

2.132a Lee, Brian. "Realism and Naturalism Howells, Crane, Nonis, Dreiser." American Fiction,1865-1940, London: Longman, 1978. 27-57. The sections on G-ane (38-43) stress the tensions between Crane's realism, his ironic vision and his "selective impressionistic" style. Maggie and Red Badge are discussed in some detail.

2.137a Martin, Ronald E. "Stephen Crane and the Tragicomedy of Human Perception." American Literatureand the De- struction of Knowledge:Innovative WLiring in the Age of Epistemology. Durham Duke UP, 1991. 121-130. In this short chapter, Martin makes two claims. First, that as a bridge between realism and modernism, "Crane combined a metaphysical faith in realism with relativistic, agnostic epistemology." Second, Martin argues that Crane's central preoccupa- tion is with human fallibility, "the theme of distorted perception . . . was brought by Crane fullyinto the realm of the nor- mal- was made, in fact, into an inescapable human character- istic."

2.141a McEIrath, Joseph R "Stephen Crane in San Francisco: His Reception in the Wme." Stephen Crane Studies 2.1(1993): 2-19. McEIrath reprints for Gane scholars, "all of the sen- tences, paragraphs and essays by Wave writers focusing upon Crane." Most of these comments concentrate on Crane as a break-through stylist. Also of note are a number of very critical responses to his "London Impressions" and a nice piece on TheMonster.

2.142a Meredith, James H. "One Hundred Years after the Publication of The Red Badge of Courage and Stephen Crane Stdl Draws a Crowd" Stephen Crane Studies 4.2 (1995): 64-68. Meredith reports on the United States Air Force Academy conference commemorating the hundredth anniversary of Red Badge. "Over one hundred conferees, representing five different countries, gathered for . . . the academic and social events. Seventy scholars participated on fifteen panels spread over nine sessions." 2.146a Monteiro, George. "After the Red Badge: Mysteries of Heroism, Death, and Burial in Stephen Crane's Fiction. American Literary Realism28 (1995): 66-79. Montiero examines Crane's explorations of "the mysteries of heroism and fear, courage, and cowardice" from Red Badge to "The Up- turned Face."

2.151a Moses, Edwin. "Stephen Crane." Magill's Surmey of American Literature. Ed. Frank N. Mag, 1991. Vol. 2. New York: Marshall Cavendish Corp. 199 1. 427-4 1. A competent, longish reference book article. Moses briefly examines Maggie, Red Badge, "The Open Boat," "The Blue Hotel," and "The Bride Comes to Yellow Sky" attributing the power and influence of Crane's fiction to his vivid and psychological exactness and his "fierce unconventional honesty."

2.153a Nagel, James. "Stephen Crane and Postsuucturalism: Frag- mentation as a Critical Mode." Review 13 (1991): 229-35. A review of Halliburton's The Color of the Sky (2.9). Nagel argues that Halliburton's detailed and penetrating analyses of mini-themes are marred by the lack of a uIllfyrng thesis result- ing in a study of Crane that is diffused, scattered, and without

2.157a hell, Miles. "The Romance of the Real." The Real Thing: Imitation and Authenticityin Amen'can Culture, 1880- 1940. Chapel Hill:U of North Carolina P, 1989. 126-37. Or- vell argues that near the end of the nineteenth-century Ameri- can culture shifted "from a culture of imitation to one of authenticity," and that Crane fits this thesis. Crane is seen as a crucial factor in moving literature from romance to realism Furthermore, his "objective" photographic, impressionistic style conveyed to readers' real (and often surreal) experiences. With regard to this last point, Orvell's examination of Crane's Bowery Works is especially acute.

2.163a Pizer, Donald. "The Study of American Literary Naturalism: A Retrospective Overview." The Theory and Practice of American LiteraryRealism. Carbondale: Southern Illinois UP,1993. 1-10. Introductory comments on the sweep and history of Pizer's examhation of literary (and phdosophical) naturalism, higbghting his wariness of the belief that naturalism implies determin;sm The works of Crane, along with Norris and Dreiser, are given attention in this regard.

2.164a "Stephen Crane." Twentieth-CenturyLiterary Criticism. Ed. Dennis Poupard. Detroit: Gale Research Co., 1983. VoL 11. 119-69. Following a brief biographical sketch, editor Pou- pard reprints representative commentary on Crane's Me and works. Briefly annotated lists of articles and books are also included All books, book chapters, and articles have been annotated elsewhere in my bibliography.

2.164b Stephen Crane." Twentieth-Century Litera? Criticism. Eds. Dennis Poupard and James E. Person, Jr. Detroit: Gale Research Co., 1985. Vol. 17. 63-83. An expanded and up dated version of the previous (2.164a) entry.

2.174a Seltzer, Mark. Bodies and Machines. New York Routledge, 1994. 93-100, 160-66, and passim. In his study of the inter- play between the natural and the technological in late nineteenth-cennuy America, Seltzer &ndsthat a number of Crane's Bowery Works and stories and Red Badge provide useful treatments of boddy movements and purposive actions. For example, with reference to Red Badge, Seltzer observes that "if the inside story and the outside story seem interchangeable, this is precisely because it's the boundaries between inside and outside that are violently renegotiated, transgressed, and reaf- firmed" See also (3.205a).

2.207a "Stephen Crane." Short Story Criticism. Ed. Thomas Vottler. Detroit: Gale Research, 1991. Vol. 7. 97-158. Fol- lowing a brief biography, Vottler reprints a generous sample of fairly lengthly excepts from the standard and iduential commentary on Cmne's important short stories. (AUof these articles, book chapters, and books have been annotated elsewhere in my bibliography)

2.213a Wertheim, Stanley. "Frank Nonis and Stephen Crane: Conviction and Uncertainty." American Litera? Realism 24 (199 1): 54-62. Wertheim briefly explores Noms's and Crane's awareness of each other and each other's works. He argues that there is "a major difference between his (Noms's] moral- istic perspective and Crane's detached, ironic, and symbolistic point of view," and he asserts that "where Noms perceived a meloristic tendency in the struggle for survival, Gane was a ni- hilist for whom chaos and chance governed human affairs."

2.218a Woodress, James. "[Pissertations on] Stephen Crane." Dissertations in American Literature,1861-1%6. Durham: Duke UP, 1968. #484-509. Twenty-two dissertations on Crane, plus two partly on hlm, written between 1944 and 1966, are listed by author, title, and university. See also 2.213.

The RedBadge of Courage:Literary Criticism

"The Red Badge of Courage Comes to Stage." Stephen Crane Studies3.2 (1994): 26-28. The world premiere (2 Sep- tember 1994) of Randy Strawderman's musical version of Red Badge is described

3.16a Beidler, Philip D. "Stephen Gane's The Red Badge of Courage:Henry Fleming's Courage in Its Contexts." CLIO 20 (1991): 235-51. Bidler argues that when examined in light of the standards that "defined courage for the common soldier of the American Civil War," it is clear that Fleming becomes "a man."

3.19a Bradbury, Malcolm. Introduction. The Red Badge of Courageby Stephen Crane. London: Dent, 1993. xv-xnni. An expanded version of the 1983 Introduction to the Every- man paperback issue of Red Badge. Bradbury again stresses Crane's straddle of realism and impressionism. What sustains the novel "is not its account of the objective world, but its power to inhabit and dramatizethe shifting, tense consciousness of its key witness." In aninteresting gloss on the novel's subtitle, "an episode," Bradbury explains that Crane's "&- &tion . . . goes further, reducing and fragmenting the detail of the battlefield itself." Bradbury also makes helpful comments on the variety of countercurrents in turn-of-the- century literature in England, America, and the Continent, which suggest that Red Badge ushered in modem writing.

3.26a Bowdre, Paul Hall, Jr. "Eye Dialect as a Literary Device." A Various Language: Perspectives on American Dialects. Eds. Juanita Williamson and Virginia Burke. New York Holt, Rinehart, and Winston, 1971. 178-86. Bowdre briefly dis- cusses Crane's use of dialect, contending that Crane's interest was not depicting class distinctions or regionalism but con- veying "the rough informality of soldiers in camp and battle." I bet Crane could accomplish all three at once!

3.27a Donald Gibson. Introduction. The Red Badge of Courage by Stephen Crane. New York: Washington Square Press, 1996. viii-xxiii. An introduction aimed at beginner readers. Gibson gives a sketch of Crane's life and with regard to his works he stresses Crane's innovative use of unconventional language (in Maggie and Red Badge). The second half of Gibson's Introduction stresses Crane's defiance of convention with particular reference to the third person, limited point of view of the novel.

3.38a Cox, James M. "The Red Badge of Courage: The Purity of War." Southern Humanities Review 25 (1991): 305-20. A general essay on Red Badge. Cox rehearses the plot with special attention to the opening chapters. He argues that Crane captures the purity of the experience of war by his stress upon the inner conflicts that torment Fleming: "his thoughts always at war with each other, he is himself embattled; at the same time, he is in a battle. To see so much is to see both the nature and the violence of civil war." Regarding the ending, Cox finds that Fleming is no better or worse after three days of combat experience. Reprinted as "On Stephen Crane's The Red Badge of Courage," in Classics of Civil War Fiction. Ed. David Madden and Peggy Beck. Jackson: U of Mississippi P, 1991. 44-62.

3.40a Curran, John E., Jr. " Nobody seems to know where we go:' Uncertainty, History, and Irony in The Red Badge of Cour- age." American Literary Realism 26 (1993): 1-12. Curran explores the gaps between the lack of knowledge had by Henry and his comrades (see Kent 3.121) and the wealth of information presented to the reader (see Hungerford 3.105). Such juxtaposition, Curran argues, provides ample opportunity for irony.

3.47a Dixler, Elsa Ban-on's Book Notes: Stephen Crane's The Red Badge of Courage. Woodbury, NY: Barron's Educa- tional Series, 1984. v+90. A useful and reliable study guide. 3.77a Green, Melissa. "Fleming's 'Escape' in The Red Badge of Courage:A Jungian Analym." American Literary Realism 28 (1995): 80-91. Green examines the tension between two ar- chetypes- heroism and initiation- which frame Fleming's conduct.

3.86a Haldeman, Joe. Introduction and Afterword. The Red Badge of Courage by Stephen Crane. N.p.: Aerie [1986]. v- xi, 156-62. Garden variety commentary.

3.86b Hattenhauer, Darryl. "Crane's The Red Badge of Courage." Explicator 50 (1992): 160-61. On the issue of whether "the irony of the text undercuts the ostensible growth of Henry Fleming," Hattenhauer's examination of Crane's use of color imagery leads him to conclude "yes."

3.87a Harkins, William E. "Battle Scenes in the Writings of Tolstay and Stephen Crane." Russianness: Studies on a Nation's Identity. Ed. Robert L. Belknap. Ann Arbor, MI: Ardis, 1990. 173-84. A worthwhile essay. Harkins compares the ways Crane and Tolstoy handle combat. Both "fundamentally convinced of the irrationality of battle and war," emphasize untried soldiers in their baptisms of frre and debunk the glories of battle and heroism. These similarities aside, Harkings argues that Tolwoy was a realist and a moralist; Crane an irnpression- ist and an ironist.

3.106a Inge, M. Thomas. "Sam Watkins: Another Source for Crane's The Red Badge of Courage." Stephen Crane Studies 3.1 (1994): 11-16. Based on "several explicit parallels" Inge contends that Crane might have read and been influenced by Sam Watkins's memoir, "Co. Aytch," Maury Grays, First Ten- nessee Regiment; or A Sideshow of the Big Show.

3.106b . "Sam Watkins and the Fictionality of Fact." Rewrit- ing the South: History and Fiction. Ed. Lothar Hiinning- hauser and Valeria Luda. Tubingen: Franke, 1993. 176-84. An expansion of Inge's article (3.106a) exploring parallels which "suggest that "Co.Aytch" may have served as a source or is at least an analogue for Crane's novel." These parallels are stxiking; Inge also devotes several pages extolling the virtues of Watkin's little-noted memoir. .125a Kotani, Koji. "Stephen Crane's Strategy of Irony in The Red Badge of Courage." Studies in English Language and Literature (Fukoko, Japan) 40 (1990): 109-10. Kotani asserts that Crane's pervasive use of irony undercuts Henry's growth, any real sense of battlefield brotherhood or, for that matter, anydung positive in the novel. A mighty sweeping thesis for a three paragraph article.

3.137a Levenson, J.C. "The Red Badge of Courage and McTeague: Passage to Modernity." The Cambridge Com- panion to American Realism and Naturalism. Ed. Donald Pizer. Cambridge: Cambridge UP, 1995. 154-77. Levenson examines the innovative psychological narratives of Crane (and Norris) which stress the role of chance, the instability of events and the shifting perceptions of both actors and observers.

3.137b hon, John. "Swords to Words: Realism and the Civil War." Wrs'ungafter Wm American War Fiction from Realism to Postmodernism. New York Word UP, 1994. 32-58. Red Badge is briefly treated in the last section of this chapter. Li- mon wonders about Crane's attempt to imagine a "true" battle in the face of "the epistemological crisis of the battle: if a battle cannot be comprehensively viewed from any position, is it in any sense a single battle at Of course, nothing can ever be comprehensively viewed

3.141a Lorenz, Paul H. "TheRed Badge of Courage as an Exercise in Hegelian Dialectic." San Jose Studies 17 (1991): 32-40. Lorenz sees the Hegelian triad of thesis, antithesis, and synthe- sis helpful in discerning patterns in Red Badge. Some influence claims are more tenuous than others. Lorenz holds that Hegel iduenced Whitman who iduenced Crane. Mark Twain would call this a stretcher, me, too.

3.159a Messenger, Christian. "The College Athletic Hero in Fiction: Crane, Noms, Davis." Sport and the Spirit of Play in American Fiction: Hawthorne to Faulkner. New York Columbia UP, 198 1. 141-54. Messenger notes Crane's use of sport metaphors (mostly football) in his prose, especially in Red Badge.

3.161a Mitchell, Vemer D. "Reading 'Race' and 'Gender' in Crane's The Red Badge of Courage." CLAJournal 40 (1996): 60- 71. A thoughtful examination of race (the Negro teamster given a "three-sentence side shown in Chapter I and Fleming's struggles with blackness as he grapples with his desertion) and gender (Fleming's mother and the two seminary school maids he leaves behind). Mitchell correctly observes that "signs of 'gender' and 'race' in Crane's fiction have gone largely uninter- rogated" This piece is a strong first step in remedymg a gap in Crane scholarship.

3.161b Monteiro, George. "The Mule-drivers' Charge in The Red Badge of Courage." Stephen Crane Studies 1.1 (1992): 9- 14. A short note explicating the charge of Fleming's unit (chapter 18) by using Tennyson's "The Charge of the Light Brigade" and Psalm 23.

3.176a Oshitani, Zenichiro. "Stephen Crane's Colors in The Red Badge of Courage." Stephen Crane Studies4.2 (1995): 56- 59. Oshitani explores Crane's use of "the theory of compli- mentary colors." Crane paring of redblack, yellow/purple, redgreen leading up to his ending with purple/gold and "&led images of memory" are examined

3.190~1Rao, B. Gopal. "The Demythologization of War: A Study in Stephen Crane's The Red Badge of Courage. Mark Twain and Nineteenth Century American Literature. Ed. E.N. Rao. Hyderabad, India: American Studies Research Centre, 1993. 55-61. Roa holds that Red Badge's "demythologization" of war and the debunking of heroism anticipate the anti- romantic picture of war in the World War I1 writings of Hem- ingway and Heller and the Viemam works of O'Brien and Stone. How about WWI?

3.193a Renza, Louis. "Crane's The Red Badge of Courage." Explicator 56.2 (1998): 82-82. Renza contrasts "the pervasive publicization or photo-piaorializationn records of the Civil War (Matthew Brady and others) and Crane's focus on "an army private's experience of the war."

3.205a Seltzer, Mark "The Love Master." EngenderingMen: The Question of Male Feminist Criticism. Eds. Joseph A. Boone and Michael Cadden. New York: Routledge, 1990. 140-58. Crane is mentioned in passing in Seltzer's observations on Red Badge as an inner story of individuals' desire for war and an outer story of "social discipline and mechaniza- tion." If you find this sort of thing interesting, see Seltzer (2.174a) for more.

3.206a Shanahan, Daniel. "The Army Motif in The Red Badge of Courage as a Response to Industrial Capitalism." Papers in Languageand Literature32 (1996): 399-409. Comments on be's embrace of machine images: "hefinds in them the essence of the world of his time, plunging his readers into pis- ton-like fury of the mechanical age." Shanahan is confident that Crane's ending is not ironic and that Fleming indeed becomes a man.

3.232a Urbas, Joseph. "The Emblematics of Invulnerability in The Red Badge of Courage." QWERTY 4 (1994): 255-63. An ambitious and probing examination of Fleming's confrontation with various inner and outer vulnerabilities as well as his attitude toward supposed sources of invulnerability-love and self-control. Urbas convincingly concludes: "unlike the main character, the reader of Red Badge has not forgotten that to a large extent Henry's invulnerability is the combined result of sheer luck and a fertile hagination. This is aqpably one of the finer ironies of the novel."

3.265a "TheRed Badge of Courage. Novel by Stephen Crane, 1895." Reference Guide to American Literature.Ed. Jim Kamp. 3rd ed. Detroit: St. James Press, 1994. 1032-33. A sound reference book entry. Crane's use of irony and color images and the economy of his style are briefly treated.

The Red Badge of Courage:Textual Controversies

3.266a LaRocca, Charles J., annotator. Stephen Crane's Novel of the Civil W;n; The Red Badge of Courage: A Historically Annotated Edition. Fleischmann's, NY: Purple Mountain Press, 1995. 212. LaRocca's 1991 article in American Heri- tage (3.130) argued that the distinctive red patch worn by 124th New York regiment under General Philip Kearny was a source for Crane's title. Historian and Civil War re-enactor, LaRocca has now produced an ambitious and helpful annotated text of the Red Badge. LaRocca's objectives are "to de- scribe the broad historical context . . . definition of terms, place names and jargon as well as an explanation of the uniform and equipment of the Civil War soldier. The second purpose . . . is to link Crane's realism to the history of a regiment that actually went to war in the fall of 1862." Throughout most of the volume Crane's text appears on the right-hand page and the facing left-hand page contains annotations, drawings, and maps. Surely the last word in using history to elucidate Crane's great Civil War fiction.

3.266b Pizer, Donald, ed Be Red Badge of Courage: An Authoritative Text, Background and Sources, Criticism. 3rd ed Ed. Donald Pizer. New York: Norton, 1994. x+337. Pizer has made available a cheap, reliable, and useful volume, which includes the 1895 Appleton version of the text (see 2.291a); section on Background and Sources, which contains several helpful essays on Crane's life and likely sources for his novel (see 14.64a); Criticism, which contains three items of "Early Estimates" and excerpts of eleven examples from "The Modem Critical Revival," as well as "A Crane Chronology and Selected Bibliography." This volume should become the standard text used by undergraduates.

3.272a Bowers, Fredson. "Authorial Intention and Editorial Prob lerns." Text 5 (1991): 49-61. A brief restatement of 3.270; Bowers defends his version of Red Badge, saying there is no shred of evidence that Crane was forced (as Binder contends in 3.267) by Ripley Hitchcock to edit his manuscript.

3.275a Guemple, Michael. "A Case for the Appleton The Red Badge of Courage. Resources for American Literaty Study 21(1995); 43-57. A detailed examination of the Binder and Appleton texts. Guemple revisits the many essays sup porting and questioning each side, applies the view of Jerome McGannn (A Critique of Modem Textual Criticism) that authors and editors are collaborators, and concludes that "the Appleton edition is the result of Crane's efforts and is more authoritative than the Binder edition. Domeraski (3.275) ar- rived at the same conclusion as convincingly but more suc- cinctly.

3.282a Myers, Robert M. "A Review of Popular Editions of The Red Badge of Courage." Stephen Crane Studies 6.1 (1997): 2- 15. Myers gives the background of "the conflicting explana- tions of the hlstory of the composition and publication of the novel; he offers a helpful account of the Binder/Parker use of the manuscript and he lists variations among the half-dozen editions that use the 1895 Appleton as a copy text.

3.287a Parker, Hershel. "The Auteur-Author Paradox: How Gitics of the Cinema and the Novel Talk About Flawed or Even 'Muti- lated' Texts." Studies in the Novel 27.3 (1995): 413-26. Parker yet again (see 3.284, 3.285) argues for the restructured (Binder) text of Red Badge and the 1893 Maggie. The supe- riority of "restored" films, especially David Lean's "Lawrence of Arabia" are cited as analogous and bolstering points in the perennial Parker-Binder campaign to have their versions adopted as the standard texts.

3.291a Pizer, Donald "A Note on the Text." The Red Badge of Courage: An Authoritative Text, Background and Sources, Criticism. 3rd ed Ed. Donald Pizer. New York: Norton, 1994. ix-x. Pizer explains why he has reprinted the 1895 Appleton text "conservatively amendedn The uncan- celled passages, which are the basis of the Binder/Parker ma, are included "in an appendix at the close of the text."

Bowery Works

4.4a Slotkin, Alan Robert. BeLanguage of Stephen Crane's BowqTales: Developing Mastery of CharacterDiction. New York: Garland Pub. Co.,1993. 150. Slotkin examines Crane's use of dialect in the Sullivan County tales and Maggie and George's Mother. With regard to the Bowery works, after a good bit of technical linguistic and syntactical examination, Slotkin argues that dialects in Maggie stress environ- mental factors while those in George's Mother emphasize individuals' developmental stages. See also (4.99a).

4.5a Alfino, Deborah. "Evidence of Murder in Maggie's &a&." Publications of the MissouriPhilological Association15 (1990): 43-49. &o argues that murder, rather than the traditional reading of suicide, fitsa Maggie who is victimized by a submissive personality and a brutalizing environment. The 1893 and 1896 versions are examined in support of her thesis. 4.28a Fine, David "Plumbing the City's Depths: Abraham Cahan, Stephen Crane, and the Tenement Tale Tradition." The City, Be Immigrant, and American Fiction, 1880-1920. Metchen, NJ:Scarecrow Press, 1977. 38-55. An expansion of Fine's 1974 article (4.28). After he describes typical American and En@ fiction about the slums (beginning with Charles Dickens), Fine asserts that Crane's Maggie and Cahn's Yekl, A Tale of the New York Ghetto "launched a dual assault upon the romantic conventions which had come to be idexgi- fied with the tenement tale." In both novels, instead of the melodramatic, virtues-overwhelmed theme, Cahan and Crane dramatize "aggressive, self-seeking and self-justifymg" characters.

4.32a Fudge, Keith. "Sisterhood Bom from Seduction: Susanna Rowson's Charlotte Temple and Stephen Crane's Maggie Johnson." Journal of American Culture19 (1996): 43-50. Though rarely regarded as such,Fudge treats Maggie as a seduction narrative. He also explores parallels between Maggie and Rowson's CharlotteTemple (the nation's first best seller in 1794): both novels clearly define "the consequences of seduction and betrayal."

4.33a Gandal, Keith. "Stephen Crane's Maggie and the Modem Soul." ELH 60 (1993): 759-85. The best analysis of Maggie in the last twenty-five years (since Colvert 4.22 and Pizer 4.92). Gandal's thesis is that Maggie is about a psychological (not moral) transformation made necessary by the brutal world of the Bowery where one survives by being a tough or is defeated: "In Maggie, Crane documents two opposing psychological metamorphoses: Jirnmie hardens into a 'tough' and Maggie weakens in selfdoubt. Jimmie's transformation is presented in abbreviated form in the first part of the novel; it serves as a foil to Maggie's experience, which takes up the rest of the book" Gandal makes us see the Bowery not as a den of sin but as a Darwinian arena where belligerence and bluster become the weapons of choice.

4.36a Grmela, Josef. "Some Problems of the Critical Reception of Stephen Crane's Maggie, A Girl of the Streets." Brno Studies in English 19 (1991): 149-55. A brief sketch of the critical reception of Maggiecouched in terms of what Gmela fdto be the case about "he's ethnic sympathies and an- tipathies . . . toward the poor, the latter being after all chiefly the unadjusted aliens."

4.37a Giles, James R "Tour Guides and Explorers." The Natu- ralisticInner-City Novel in America: Encounterswith the Fat Man. Columbia: U of South Carolina P, 1995. 15-46. In a chapter treating turn-of-the century slum literature, Giles compares be's Maggie's matter-of-fact and non- judgmental posture with Jacob Riis's How the Other Half Lives's tourist-guide narrative, FrankNorris's McTeague'sin- formed outsider perspective, and Jack London's The People of the Abyss's first-person memoir.

4.37b Golemba, Henry. " Distant Dinners' in Crane's Maggie: Representing The Other Half." Essays in Literature 21 (1994): 235-50. A detailed, if sometimes diffuse treatment of food and eating in Maggie. Golernba makes several striking claims, for example, "[Oane's] focus was the communicative ~roblemof how to make literacy as profound an activity as eating and nourishment." Striking,to be sure, but not con- vincinglyargued

4.46a Hakutani, Yoshinobu "Jenny, Maggie, and the City." Dreiser's Jenny Gerhart:New Essays on the Restored Text. Ed. James L. West. Philadelphia: U of Pennsylvania P, 1995. 147-56. Hakutani contrasts the cohesiveness and support of Jenny's Chicago with the coldness and indifference of Maggie's New York City.

4.49a Hapke, Laura. "The American Working Girl and the New York Tenement Tale of the 1890s." Journal of American Culture 15.2 (1992): 43-50. Hapke argues that the work woman in the tenement tales (1890-1910) is typically a heroine who cannot afford domesticity and who then works in a sweat shop for her family (iiead of turning to crime or prostitu- tion). In terms of this thesis, a ha-dozen pages are devoted to Crane as the "most famous of the working girl's irnaginers."

4.57a Hurm, Gerd. "Stephen Crane: Maggie: A Girl of the Streets," Fragmented Urban Images:The American City in Modern Fictionfiom Stephen Crane to ThomasPyn- chon. Frankfurt: Peter Lang, 1991. 110-32. Crane's Maggie is one of eight American novels considered in this monograph on fictional depictions of "modem urban experience" from 1880-1960. Insightful comments on Crane's depiction of the city divided into Bowery and uptown. Indeed, Hurm finds all sorts of dualities in Maggie. "The double perspective pro- foundly shapes Maggie. Both versions of urban reality appear side by side in the novel. Order ad disorder, closure and chaos are oppositions and complementations in he's view." Hurm concludes, "Maggie is the first exploration into the seg- regated American metropolis."

4.59a Irving, Kauina. "Gendered Space, Radhd Space: Nativism, the Immigrant Woman and Stephen Crane's Maggie." Col- lege Literature 20 (1993): 30-43. An opaque (and unconvincing)treatment of late nineteenth-century reaction to imrni- gration threats, with beand Maggie briefly treated as af- terthoughts. Irving's case is admittedly cirmantial and tenuous- "I use his novel, not in order to argue that Crane himself was consciously or subconsciously a nativist, but to show that his text deploys specific discourses . . .which can be identified as nativist." Irving thus suggests that Crane's nativist paranoia caused him to conflate the threats of immigrant women and prostitutes. b

4.83a Novotny, George T. "Crane's Maggie, A Girl of the Street." Explicator 50.1 (1992): 225-28. Following Wolford (2.19), Novotyny traces Homeric influences in Maggie: Crane's de- scription of "my cloud-compelling Pete" is traced to "cloud- compeller" in Pope's translation of The Iliad.

4.84a Oates, Joyce Carol. "Imaginary Cities: American The Profane Art: Essays and Reviews. New York: Dutton, 1983. 9-34. Oates cites Maggie as a dystopian image of the Ameri- can city- a place where "the suuggle is graphic and literal: the City is a place in which human beings die as a consequence of the unspeakable conditions of slum life and actual mistreat- ment by employers or by one another." Oates calls attention to Jimmie becoming "a young man of leather and . . . a truck driver and Crane's descriptions of the forces that doom Maggie. "

4.88a Parker, Hershel and Brian Ehgghs. "The Virginia Edition of Stephen Crane's Maggie: A Mirror for Textual Scholars." Bibliographical Society of Australia and New Zealand Bulletin 19 (1995): 131-66. News from the tdfront. Parker (and Higgins) explains that Fredson Bowers read the 1975 version of this article "before it was suppressed" and that Bowers threatened legal action if the article was used as evidence to rescind the seal of approval of the Virginia critical edition of Maggie. The feud and hurt feelings aside, the value of this article is not its exhaustive critique of the Bowers edition of Maggie (now a very dead horse) but its detailed and helpful account of the novel's publication history including the differences between the 1893 and 1896 versions. Accordingly, the Parker-Higgins comments on Section I (134-138) and Sec- tion IV (145-152) on the "huge fat man in tom and greasy garment" in the 1893 Chapter 17 version are worthy of close study- 4.93a Pizer, Donald. "Maggie and the Naturalistic Aesthetic of Length." American Literary Realism 28 (1995): 57-65. Pizer wonders why naturalists are typically long winded- Drieser's American Tragedy is more than twice as long as Maggie- and Crane so economical and terse. This leads Pizer to an important consideration: "how does Crane achieve a namrahic effect without a reliance on length?"

4.96a Sedycias, Joho. "Stephen Crane's Maggie: The Fallen Woman as Religious Allegory" and "Mimesis and Crisis in Maggie." The Naturalistic Novel of the New World: Comparative Study of Stephen Crane, Aluisio Azevedo, and Frederic Gamboa, Lanham, MD: UP of America, 1993. 3-31 and 131- 65. The fust of the chapters that Sedycias devotes to Crane rehearses the plot, surveysthe early reception Maggie as a grisly naturalistic work, and comments on recent criticism on Crane's firstnovel. Sedycias's later chapter on Maggie is more creative and helpful. Maggie, he argues, is caught between worlds of fantasy and reality, and further, "Maggie's dream world serves as the 'rose-tinted' glass though which she looks at reality." Tragically, she pursues desires fueled by a dream world at odds with the gritty and cruel environment she must deal with.

4.97a Seyersted, Per. "Edna versus Maggie, Rose, Trina, and Canie." Seyersted, Kate Chopin, A Critical Biography. Baton Rouge: LSU Press, 1969. 190-96. Seyersted wsthat Cho- pin's Edna is realistic and sexually enlightened whereas none of the heroines of Crane, Garland, Noms, or Dreiser are.

4.98a Shi, David "A World of Fists." Facing Facts: Realismin American Thought and Culture, 1850-1920. New York: Oxford UP, 1995. 223-50. Crane (along with Noms and Dreiser) is discussed as a realist who, though he tended toward naturalistic determinism, kept open windows of freedom and personal initiative. Selected Bowery tales are highLghted Shi concludes, "individual responsibility was possible, even in the Bowery, but it was not often exercised . . . for slum life in- volved a struggle for survival in which most people were armed with inadequate weapons of ignorance, innocence, and self- delusion."

4.99a Slotkin, Alan. "Youas a Multileveled Dictional Device in Stephen Crane's Representation of Bowery Dialect in Maggie: A Girl of the Street." South CentralReview 7 (1990): 40- 53. Talk about your long titles! A definitive examination of Crane's skill in creating realistic characters by way of his mastery of dialects. Maggie is the focus here: "through the complexity of his morphological constructs of pt, and its vari- ants . . . Crane is able to establish differentiating features for the dialectic group encompassed by Maggie:lower class Bow- ery residents." For a full examination of dialect in Cme's New York Gty sketches and fiction, see Slotkin's monograph 4.4~

4.105a Sweeney, Gerard M. "The Syphilitic World of Stephen Cme's Maggie." American LiteraryRealism 24 (1991): 79-85. Extends Peuy's claim (4.98) that Hogarth's Gin Lane influenced Crane's Maggie. Sweeney argues that "the entire slum world of Maggie is pervaded by disease, and not merely alco- hohq but syphilis as well." Sweeney offers plausible medical accounts for a number of incidents in Crane's first Bowery novel.

4.129a Pizer, Donald "From a Home to the World: Stephen Crane's George's Mother."Papers on Literatureand Language32 (1996): 277-90. A valuable addition to the surprisingly slim sheaf of commentary on Crane's "othern Bowery Work Pizer traces George's oscillation between home (stifling and judgmental) and Bleecker's world (tolerant and acceptant), noting "the feminine code of the home and its extenuation into that of the romance are dead and inoperative; the masculine codes of the world- of the gentleman and of power- have been discovered to be either false or potentially self-destructive." Pizer concludes with the insightful observation that Red Badge, Maggie, and George's Mother share Crane's "initial bold and evocative pursuit of the problem of how do we survive the journey from the home to the world"

4.148a Esteve, Mary. "A 'Gorgeous Neutrality': Stephen Crane's Documentary Anaesthetics." ELH 62 (1995): 663-89. A complex and dense anaysls of a number of Crane's urban sketches dealing with Crane's attempt to capture a prior, undif- ferentiated stuff which antedates experience: "by converting lived experience back into shewuka,back into pure, anaesthetic experience . . . he in effect sabotages the realist project of making sense of phenomena." Is Esteve searching for a liter- aryanalog to Bertrand Russell's "neutral monism" or William James's "pure experience?"

4.172a Penney, Scott. "The Veracious Narrative of 'Experiment in Misery': Crane's Park Row and Bowery." Stephen Crane Studies 3.1 (1994): 1-10. An interesting comparison of the newspaper and short story versions of an important Bowery piece. Helpful interpretive suggestions are tied to four photo- graphs of New York Gty from the 1890s.

4.179a Wilson, Christopher. "Stephen Crane and the Police." American Quarterly 48 (1996): 273-315. The best single piece on Crane, the Tenderloin, the Dora Clark Affair,and the complexities of Crane as spectator/participant and journalist/crusader. Whon's point is that "the Charles Becker Affair" is a more apt summaryof this famous episode of Crane's involvement in and reportage of New York City police's power/comption/refoxm activities. Wilson concludes with illuminating comments on a number of Crane's Tenderloin Sketches, notably "When a ManFalls" and "The Eloquence of Grief." "The Open Boat"

5.10a Benfey, Christopher. "Shipwrecks." Pequod 32 (1991): 134- 45. A comparison of "The Open Boat" with "Stephen Crane's Own Storyn-the former "a portrait of the saved," the latter, "a portrait of the lost." In this piece, Benfey introduces the thesis of his The Double Life of Stephen Crane (l.la), which is that Crane imagined and wrote about events before he lived them.

5.13a Billingslea, Oliver. 'Why Did the Oiler Drown?" American Literary Realism27 (1994): 23-41. Bellingslea explores numerous reasons that have been offered by noted Crane com- mentators, adding his suggestions regarding cosmic indifference, human brotherhood, and Billie Higgins's death.

5.30a Ford, Maddox Ford "Gloom and the Poets." Memoriesand Impressions: AStudy in Atmospheres. New York: Harper, 1911. 38-60. Mention of "The Open Boat" and a report of Crane's quipping that Robert Lewis Stevenson's prose "put back the clock of English fiction fiftyyears."

5.32a Frus, Phyllis. 'Writing After the Fact: Crane, Journalism and Fiction." The Politics and Poetics of Journalistic Narra- tive: The Timelyand the Timeless. Cambridge: Cambridge UP,1994. 13-52. A long and detailed reprise of Frus's 1989 (5.32a) article again a.gthat the membrane which separates journalism from fiction is permeable. She also compares "Ste- phen Crane's Own Story" and "The Open Boat" stating that "I find no objective properties of text, such as rhetoricity or fictionality, that enable us to distinguish fiction from nonfiction." The second half of her excellent article examines "turn-of-the- century nandism as an intensification of realism."

5.49a Juan-Navarro, Santiago. "Reading Reality The Tortuous Path to Perception in Stephen Crane's The Open Boat' and The Blue Hotel.' " Revista Canariade Estudious Ingleses19-20 (1989-90): 37-50. Heady influenced by Fried (2.6), Juan- Navarro retells both stories, stressing "be's concept of multifaceted reality lacking in concrete referents." For Juan- Navarro, Crane's use of irony is both paradoxical and positive, "the failure of the characters in interpreting reality . . . enable the reader to comprehend the mischievous and symbolic nature of the universe."

5.59a McEntee, Grace. "Deliverance as James Dickey's Re-vision of Crane's 'Open Boat'. " James Dickey Newsletter 7.2 (1991): 2-11. Good stuff on Deliverance, but her connecting Dickey with "The Open Boat" is unconvincing. Incidentally, Dickey explicitly denied any Crane influence.

5.60a Metress, Christopher. "From Indifference to AnxietyKnowl- edge and the Reader in The Open Boat.' " Studies in Short Fiction 28 (1991): 47-53. Follows the Gestenberger (5.34) and Kent (5.52) epistemological interpretations of "The Open Boat." Metress observes that the experiencers of the ordeal (not the readers) are in a position to be interpreters for "the story manifests . . . (the) privileging of experience over reading asthe true generator of meaning."

5.69a Nagel, James. " The Open Boat' by Stephen Crane." Refer- ence Guide to Short Fiction. Ed Node Watson. Detroit: St. James Press, 1994. In this brief entry, Nagel explores the events and compositional history of Crane's greatest short story, explaining that as he retooled "Stephen Crane's Own Story," he added "to the basic facts of the adventure the the- matic values of psychological transformation, of life as a struggle for existence, of human isolation in a hostile world"

5.78a Qllmn, Brian T. "A Contrastive Look at Stephen Crane's Naturalism as Depicted in 'The Open Boat' and 'The Blue Hotel.' " Studies in English Language and Literature 42 (1992): 45-63. A predictable examination of "The Open Boat" and "The Blue Hotel." Thesis: in times of crisis, humans can be saved by compassion and community or doomed by insu- larity and isolation.

5.100a Taylor, Thomas W. "Stephen Crane and the f2mmmbc A Prelude to the Spanish-American War." Stephen Crane Studies 5.1 (1996): 25-27. A press release and other details about a documentaty on the &m&, Crane, and the Mos- quito Inlet Lighthouse (now called the Ponce de Leon Inlet Lighthouse). This video aired on A&E's History Channel and, thereafter, will be part of the orientation program at the restored lighthouse. Other Chmxdm artifacts and Crane memorabilia will also be displayed

Western Tales

6.14a Feaster, John. "Violence and the Ideology of Capitalism A Reconsideration of Crane's 'The Blue Hotel.' " American Literary Realism25 (1992): 80-94. A close reading of "The Blue Hotel" ("Moonlight on the Snow" and "Twelve O'clock High," written about the same time, are also discussed). Feas- ter argues that the import of Crane's story is cultural not cosmic, for his analysis refers "to the complex social and eco- nomic factors, and accompanying ideology, that shaped the evolving frontier culture in which the story is set and of which Crane had exact 'historical' experience."

6.34a Backman, Gunnar. "Blue Hotel." Meaning by Metaphor: An Explorationof Metaphorwith a Metaphoric Reading of TwoShort Stories by Stephen Crane.Uppsalla: ALnquist & Wiksell, 1991. 121-40. A published dissertation. Following a detailed theoretical discussion, Backman turns to Crane's use of metaphor in "The Blue Hotel" and "The Bride Comes to Yellow Sky"(see 6.106a). Backman examines Crane's use of battle, sea, religion, and animal metaphors, concluding that these metaphors reinforce the contention that there is "a de- tedctrait in his writing."

6.34b Beaver, Harold "Stephen Crane: Interpreting the Interpreter." The Nineteenth-CenturyAmerican Short Story. Ed. A. Robert Lee. London: Vision and Barnes & Noble, 1985. 120- 33. After general remarks on Crane's attempt to sustain "the myth. of heroism" in the face of the nineteenth-century's growmg belief in philosophical determinism, Beaver proposes a nihilistic Crane. The second half of the essay examines "The Blue Hotel" in light of Beaver's contention that "man is out of control" as "the burden of Crane's message."

6.38a Church,Joseph. "The Determined Stranger in Stephen Crane's The Blue Hotel.' " Studies in Humanities 16 (1989): 99-110. One of the most important recent pieces on Crane's best Western story. Contrary to the common view that the Swede is doomed because he is trapped in his illusions, Churchargues that the Swede actually sees things as they are. "Paradoxically hyper-alert because of his reading of dime novels, he can see the signs of the community's latent cormpdon and violence, and he acts to expose them." Church explores prevalent themes and characters in a number of dime wore Westerns concluding, "enabling a social critique, Crane's Swede incarnates the outspoken, brutal dime-novel hero."

6.76a Oriard, Michael. "Desperate Players [in The Blue Hotell." Sporting with the Gods: The Rhetoric of Play and Game in American Culture. Cambridge: Cambridge UP, 1991. 244-49. A very good analysts of Crane's fascination with gam- blers, the psychology of risk and fear, the ambiguity of freedom in an unstable moral universe, and why each human must "accept responsibility for outcomes over which he has irnper- fea control." Oriard concludes that as a naturalist Crane moved from determinism and futility to "freedom and responsibility."

6.106a Backman, Gunnar. " The Bride Comes to Yellow Sky.' " Meaning by Metaphor: An Explorationof Metaphorwith a MetaphoricReading of TWOShort Storiesby Stephen Crane. Uppsah Almquist & Wiksell, 1991. 91-121. A sustained close reading of "The Bride." While Backman's analysis is very detailed and inventive, his conclusion that "these forces render life fundamentally fatalistic in this story" is not compelling. Any of several other conclusions might follow from his treatment of Crane's conventional and "writer-specific metaphors." See (6.34a)' for more about Backman's general examination of metaphor.

6.107a Bassan, Maurice. "The True West' of Sam Shepard and Stephen Crane." American Literary Realism28 (1996): 11- 17. Bassan finds Sam Shepard's play Tnre West helpful in exploring "The Bride Comes to Yellow Sky."

6.107b Bellman, Samuel Irving. "Stephen Crane's Vaudeville Mar- riage: 'The Bride Comes to Yellow Sky.' " Selected Essays: International Conferenceon Wit and Humor,1986. Ed Dorothy Joiner, Carrollton, GA: West Georgia College Inter- national Conference, 1988. 14-19. Bellman asserts that in "The Bride" "we are shown a series of vaudeville perform- ances suggestive to Crane's contemporary readers of theatrical entertainment, stagy comic skits, though readers of a much later time may not recognize them as such." I guess this amounts to readers of different eras see different things in a piece of literature- who could disagree?

6.107~ . " The Bride Comes to Yellow Sky' by Stephen Crane, 1898." Refeence Guide to Short Fiction. Ed. Noelle Wat- son. Detroit St. James Press, 1994. 655-56. Bellman's brief piece highltghts the elements of comedy, burlesque, and vaudeville in Crane's second-best western story.

6.140a Teague, David W. "Imaginative Men: Stephen Crane [and The Bride Comes to Yellow Sky'J." The Southwest in American Literatureand Art: The Rise of a Desert Aes- thetic. Tucson: The U of Arizona P, 1997. 73-88. Some of Crane's western stories notably "A Man and Some Others," "Moonlight on the Snown and, in more detail, "The Bride Comes to Yellow Sky" are examined in terms of Crane's ironic treatment of several mythsof the West: gunfights, open spaces, cow towns, and the passing of the frontier.

6.144a Zanger, Jules. "Stephen Crane's 'Bride' as Countermyth of the West." Great Plains Qwrtet-1~11 (1991): 157-65. An essential piece for appreciating Crane's second-best (after "The Blue Hotel") Western story. Zanger's thesis is that the parodic tar- get of "The Bride" is not dime-novel Westerns, but "the self- congratulatory bourgeois transformation it dramatizes." Fur- thermore, Crane's real interest is deflating the romanticized cowboy and Western images of Theodore Roosevelt and Owen Vier.

7.18a Colvert, James B. "Fred Holland Day, Louise Imogene Guiney, and the Text of Stephen Crane's The Black Riders." American Literary Realism28 (1996): 18-24. An important essay on be's dealings with Copeland and Day concerning the poems they wanted to delete and his wish to have them retained Colvert discovered intriguing letters from Day's editorial advisee Louise Imogene Guiney. What emerges, based on Guiney's vetting, is Copeland and Day's willingness to risk controversy over Crane's satirizing "superior Christianity." 7.24a Finch, Annie. "Stephen Crane and the Rhyhms of the 1890s." The Ghost of Meter: Culture and Prosody in American Free Verse. Ann Arbor, U of Michigan P, 1993. 57-79. A detailed, technical examination of The Black Riders. Finch enters the on-going debate about whether Crane's verses ("pills" he called them) are poetry. She concludes, "insofar as Crane's poetry reflects, with courage and honesty, the stale- mated poetic and prosodic traditions faced by a poet in the 1890s, it earns its place among those traditions."

7.36a Hoffman, Daniel. "Many Red Devils Upon the Page: The Poetry of Stephen Crane." Sewannee Review 102 (1994): 588-603. A general essay on Crane's life and his poetry. Hoffman stresses Crane's poetic wrestle with matters theologi- cal and his poetic style, "gnomic lines, frightening in their in- tensity."

7.63a McGann, Jerome. "Composition as Explanation." Black Riders: The Visible Language of Modernism. Princeton: Princeton UP, 1993. 76-1 17. Passim. Although the layout and the material composition of Black Riders are given some attention, there is little anaysls of Crane's poeuy.

7.74a Rupert, James. "Stephen Crane." Guide to American Poetty Explication: Colonial and Nineteenth-Century,Vol. 1. Boston: G.K. Hall, 1998. 12-16. Secondary comments on some thutyof Crane's poems are noted The majority of the citations come from Hoffman (7.6) along with several from Halliburton (2.9).

7.87a Vanouse, Donald P. "The First Editions of Stephen Crane's The Black Riders and Other Lines and Wm is Kind." Courier 29 (1994): 107-25. Vanouse argues that the visual features, typography, and illustrations underscore the content and themes of Crane's breakaway poetry.

7.93a Wertheim, Stanley. "Frank Norris's 'Green Stones of Unrest.' " Frank Norris Studies 15 (Spring 1993): 5-8. An interesting surveyof several of Noms's skillful parodies of Crane's poetry and prose. Wertheim shows that Norris had a very good grasp of Crane's stylistic and literary idiosyncrasies. Tales of Whilomville

8.7a Giles, Ronald K. "Responding to Crane's The Monster.' " South Athntic Review 57 (1992): 45-55. A short piece fo- cuing on the need for the readers to adjust their responses to The Monster because the narrator of the story vacillates between omniscience, irony, confusion, and limited knowledge.

8.14a Marshall, Elaine. "Crane's 'The Monster' Seen in Light of Robert Lewis's Lynching." Nineteenth-CenturyLiterature 51 (1996): 205-24. Marshd suggests that "the imaginative source for Crane's novella [wasl his brother William's eyewit- ness account of the lynching of Robert Lewis." One supposes a sort of inverse scale when dealing with conjectures- when they are insightful and illuminating, weakness of evidence can be winked at. Unfortunately, Marshall's conjecture is unsup- ported, implausible, and duminating.

8.31a Brown, Bill. "American Childhood and Stephen Crane's Toys." AmdcanLiterary History 7 (1995): 443-76. A detailed, dense examination of Crane's Whilomville Tales with particular attention to "The Stove." Brown locates Crane's work within turn-of-the-cenq's emerging interest (in fiction and psychology) in chddhood, especially the " bad-boy boom."

8.36a Jacobson, Marcia. "Stephen Crane." Being a Boy Again: Autobiography andthe AmericanBoy Book. Tuscaloosa, a U of Alabama P, 1994. 116-32. Crane's Whdornville Tales are examined in light of Jacobson's discussion of the rise and faJlof the nineteenth-century "Bay's Book." Crane is seen as helping the demise of that genre because his work "accepts the notion of boyhood savagery as helpfully explaining boyhood behavior." Sadly, Jacobson's analps shows little appreciation of Crane's ironic overstatements about the troubles and fears of boys (and girls).

8.42a Newell, Peter. Thmy-two illustrations. WbilomdeStones by Stephen Crane. New Yo& GarrettPress. 1969. Editors, worried that the irony and humor of Crane's stories might be missed, commissioned Newel to provide humorous, cartoon- like caricatures of the leading incidents in Crane's stories. Journalism, Tales, and Reports

9.12a Church,Joseph. "Reading Writing, and the Risk of Entangle- ment in Crane's 'Octopush,' " Studies in Short Fiction 29 (1992): 341-46. Following Fried (2.6), Church fmds the act of writing themadzed in Crane; hence, "Ocotpush" is "a kind of allegory of the writer at work" Church finds that "Crane anticipates modem fiction's inclination to reflect upon its own processes." Numerous references to black ink are noted

9.17a Monteiro, George and Paul Sorrentino. "Justice to Lyndon Pratt: Crane in Amen'can Prefaces." Stephen Crane Studies 3.1 (1994): 17-19. In 1936 Lyndon Pratt, rather than Gullason, Stallman, or Schoberlin, first identified several of Crane's Sulli- van County Sketches. On Pm's Crane attributions, see (9.17b).

9.17b Pratt, Lyndon. "Newly Found Stories by Stephen Crane." American Prefaces 1 (1936): 164-65. Pratt describes his re- discovery of the eight Sullivan County Sketches that appeared in the New York Tribune between 21 February and 21 August 1892. Note: four years later, American Prefaces 5 (1940): 152-153 republished "Killing His Bear." For more information see (9.17a).

9.25a Co~ery,Thomas B. "A Third Way to Tell the Story: Ameri- can Literary Journalism at the Turn of the Century." Literary Journalism in the Twentieth Century. Ed. Norman Sims. New York: Oxford UP, 1990. 3-20. Brief comments on Crane as a pioneer literary journalist. Crane's nonfiction renderings were not straight reporting; instead, he "carefully selected and organized his facts and observations to present his subjective view of the incident as he created a human, urban context." Connery focuses on 'When A Man Falls, A Crowd Gathers."

9.38a Robertson, Michael. "Stephen Crane." A Source Book of American Literary Journalism:Representative Writers in an Emerging Genre. Ed. Thomas B. Connery. New York: Greenwood Press, 1992. 69-79. The best single overview on Crane's lifelong work as a journalist. Robertson examines most of Crane's best dispatches. Thesis: Crane's freelance contributions of feature articles to a wide range of newspapers and magazines "share the distinctive qualities of his fiction: pervasive irony, a naturalistic view of humans as products of their environment, and, above all, a rejection of any absolute reality or truth in favor of an impressionistic attention to the processes of individual perception."

9.5la Curry, Dean, ed "A Mystery of Heroismn by Stephen Crane. Interludes: Selected AmericanShort Stones for Advanced Students of English as aForeign Language. Washmgton, D.C.: United States Information Agency, 1984. 111-21. Study questions for "A Mystery of Heroism."

9.83a Kaplan, Amy. "Black and Blue on San Juan Hill." Culturesof United States Imperialism. Eds. Kaplan and Donald Pease. Durham: Duke UP, 1993. 219-36. In a chapter on the role and performance of the Rough Riders, American black troops and our Cuban allies against the Spanish Kaplan briefly treats Crane's "Vivid Story of San JuanHill" with Roosevelt's mostly self-serving memoir, The Rough Riders:A History of the First UnitedStates Volunteer,as a contrast. A useful analysis set up by a clever juxtaposition.

9.99a Shaw, Mary N. "Apprehending the Mystery in Stephen Crane's 'A Mystery of Heroism.' " CLAJournal 39 (1995): 95-103. Shaw argues that Crane's objective was to satirize the conventional notion of heroism (great deeds, great danger, and serious risk) and supplant it with an ordinary-deeds account- acts of human kindness like giving water to the fallen artillely officer. Unfortunately, Shaw's discussion of this powerful story missed several crucial details: no canteens were filled, there was no cup to give "water to a dymg comrade," and Collins splashed water from the bucket instead of "extending his canteen of water."

9.99b . "Stephen Crane's 'An Episode of War': A Demytholo- gized Dramatization of Heroism." Studies inContemporaty Satire 17 (1990): 26-34. Shaw explicates Crane's story by showing how his irony satirizes the conventional notion of romanticized heroism.

9.99~ . " 'Three Miraculous Soldiers': A Satire on Romanti- cized Notions of Traditional Heroism." Studies in Contem- porary Satire 19 (1990): 58-64. Shaw convincingly argues that in his "Little Regiment Tale," Crane "implicitly satirizes romanticized notions of heroism, which lack viable and humane realizations, and implicitly affirms his concept of true heroism, whichis dynam~callyresponsible to the flux of life."

9.100a Steffelbauer, Berta. "Stephen Crane's short story, 'A Mystery of Heroism.' " Moderne Sprachen 35.4 (1991): 3-31. A help ful examination of stylistic techniques in one of Crane's best, though underappreciated, short stories.

9.111a Holton, Milne. "Stephen Crane's Death and the Child': The Context of the Text." Stephen Crane Studies 1.2 (1992): 1-8. Holton examines "Death and the Child" in terms of Crane's life, concluding that "if we remember the journalism out of which "Death and the Child" arose, and recognize it as a link to Crane's experience . . . , [this stoxy] engages and explores the meanings of the horror he encountered there."

9.1 11b Shaw, Mary N. " 'The KidungTwelfth': Stephen Crane's Demythologized Dramatization of War and Heroism." Short Story 1 (1993): 84-93. Standard Shaw fare: "The Kicking Twelfth" is not a realistic depiction of war but a satirical critique of "the inhumanity of a romanticized notion of war."

Potboilers, England, Cora, and Last Works

10.1 la Sorrentino, Paul. "Stephen Crane's Struggle with Romance in The Third Violet." American Literature 70 (1998): 265-91. An ambitious, provocative reexamination of Crane's try at a romance novel. Sorrentino's claim is important, fully argued and well supported "The Third Violet appeared at a critical point in Crane's life. Suugglulg with the profession of author- ship and the battle between realistic and romantic fiction, Crane wrote the novel as a public criticism of popular fiction in America and as a private diary of his professional, philosophi- d and emotional development."

10.18a Robertson, Michael. "The CuldWork of Active Service. American Literary Realism 28 (1996): 1-10. An informative essay that sidesteps the aesthetic shortcomings of Active S-ce, looking instead at the cultural critique that infuses the novel: the decline of the genteel Victorian tradition, the rise of mass culture, and the nascent women's movement. 10.32a Miles, Peter. "Ernest Skinner, HenryJames, and the Death of Stephen Crane: A Cora Crane Inscription." ANQ 8 (1995): 19-26. Miles attempts to sort out the details of Crane's death and the care he received from his English physician, Dr. Ernest Skinner. All of this analysis provides a context for a previously unrecorded Cora Crane inscription (to Dr. Skinner) in Wounds in the Rain.

10.34a Myers, Robert M. Reluctant Expatriate: The Life of Harold Frederic. Westport, CT:Greenwood Press, 1995. Passim. Some new and interesting details on the Crane- Frederic friendship. Note: h4yers uncritically relies on Beer's fabricated quotations and incidents- see (1.1224

10.35a Tinter, Adeline R "Cora Crane and James 'The Great Condi- tion': A Biblio-Biographical Note." Henry James Review 13 (1992): 192-97. Speculation about Cora's relationship with Henry James based on a volume given (and inscribed) to the Cranes. The Henry James story included in thisvolume deals with a woman who has a questionable past. Tinter discovered, however, "the leaves containing Uames's] story The Great Condition' had been neatly excised"

10.36b Wertheim, Stanley. "The Stephen Crane Testimonial Fundn Resources for the Study of American Literature 9 (1979): 31-32. Wertheim explains and then reprints the appeal by Morton Frewen (owner of Brede Place) which suggests that fi- nancial donations for the dylng author be sent care of Lady Randolph ChurchiU.

10.43a Bradbury, Malcolm. "Chrisunas at Brede," Bradbury, Ameri- can Realities, European Romance, New Yo& Viking, 1996. 203-46. A fast-paced, suave account of Crane's early writings (insightful comments on the Maggie's style- "its vignette-like style of presentation, its strange irony, its angular prose, its distinctive neo-naturalist techniquen- details on his last years in England, including his dealings with Frederic, Conrad, Ford Madox Ford, and Henry James, concluding with interesting comments on the two Cranes: naturalist and impressionist and his influence on modem American (and British) fiction. 10.48a Wer, Jesse. "Crane's The Ghost in the Manchester Guardian." Stephen Crane Studies 4 (1995): 50-52. Cristler reprints a notice of "The Ghost" in the Manchester Guard- ian (13 January 1900), which he suggests is further confirma- tion "of the highly successful literary reputation Crane enjoyed just before his death."

10.74a Huneker, James Gibbons. "W1th Joseph Conrad" Huneker, Steeplejack, 2 Vols. New YO& Charles Scribner's Sons, 1920. 2: 128-33. Brief comments on the Crane-Conrad mu- tual admiration society.

10.76a Karl, Frederick R Joseph Conrad, The Three Lives: A Biography. New Yo&- Farrat-, Straus, and Giroux, 1979. Passim This lengthy biography on Conrad (1008 pages) contains numerous comments on the Crane-Conrad friendship and on Conrad's view of Crane's work. Perhaps of most interest are details on Conrad'swriting of the Introduction to Beer's biography on Crane (see 1.1 and 1.70).

10.841 Monteiro, George. "Additional Crane Reviews in the Man- chester Guardian." Stephen Crane Studies 4 (1995): 53-55. Monteiro reprints four reviews missed by Hayes (2.96a). The notice on Crane's Bowety Works is worth a second look for comments on tragedy, destiny, and Crane's lack of moralizing.

10.114a Vanouse, Donald "Stephen Crane's Reports from Occupied Ireland" Stephen Crane Studies 5 (1996): 7-15. Vanouse comments upon Crane's five "Irish Notes" published in the Westminster Gazette during October and November 1897 after Crane and Cora toured Ireland with Harold and Kate Frederic in August. Vanouse findsin these sketches show "the effects of British imperialism upon language, and . . . the dis- tance between the subjugated people and the colonial police" In sum,"Crane identifies the weight of the colonial occupation of Ireland, and he rejects the racial and gender stereotypes used to jusufy that occupation." Style

11.20a Guetti, James. "Gambling with Language: Metaphor." Wttgensteinand the Grammar of Literary Experience. Athens: U of Georgia P, 1993. 122-46. Guetti argues (in the last third of this chapter) that Crane "conflicted" metaphors- "throughout his fiction he assembles vocabularies that are re- markably unfit for each othern- allow us to consider him both a "realist" and a "complete impressionist."

11.33a Kowalewski, Michael. "Violence and Style in Stephen Crane's Fiction." Deadly Musings: Violenceand Verbal Form in Ammican Fiction. Princeton: Princeton UP, 1993. 105-130, 269-72. An illuminating, close-grained examination of Crane's style. Kowalewski's essay incorporates all the recent (and re- mote) scholarship on the topic, manages a light tone "reading Crane is a bit like wearing glasses in a cold climate; there is a continuous fogging and clearing your vision as you enter and leave heated buildingsn- and convincingly argues that Crane's technique enables him to build up and then undercut the reader's expectations. Sophisticated and persuasive; arguably dzbest article-length analysis of Crane's style.

Collections, Manuscripts, Rare Books and First Editions

12.15a Wertheim, Stanley. Stephen Crane (An Exhibition on the Centennial of The Red Badge of Courage at the Grolier Club, November 29, 1995 to January 12, 1996 from the Col- lection of Stanley Wertheirn). New York: The Grolier Club, 1995. 35. The catalogue for the exhibition of Crane's works and memorabilia from this redoubtable Crane scholar's personal collection.

12.98a Monteiro, George and Paul Sorrentino. "Stephen Crane: Dramatic, Musical, and Fictional Adaptations." Stephen Crane Studies 5.1 (1996): 5-24. A fascinating and valuable checklist of more than a hundred plus media adaptations of Crane's books, short stories and poetry. Monteiro and Sorren- tino's categories include plays (theater, television, and radio), films, comics, opera, musical, musicd settings, audio recordings, and fictional adaptations. Letters

13.33a Tsunematsu, Masao. "Materials for Stephen Crane Studies: Collections of His Letters." The Rising Generation135.12 (1990: 590-92. An enthusiastic review of Wertheirn and Sor- rentino's The Correspondenceof Stephen Crane (13.3).

13.34a Tuttleton, James W. "The Elusive Stephen Crane." Vital Signs: Essays on American Literatureand Criticism. Chi- cago: Ivan R Dee, 1996: 161-80. A touch up-- mostly adding scholarly citations- of 13.34. Despite quoting Wertheirn and Sorrentino speculation about "what his future might have been had he survived his twenty-ninth year," Tunleton repeats his earlier error that Crane died at "the tender age of twenty-nine." Crane died at age twentyeight, five months short of his next birthday.

13.36a Wertheim, Stanley. "New Stephen Cme Letters and Inscrip- tions." Stephen Crane Studies 1.1 (1992): 15-20. Wertheirn reproduces "in diplomatic transcript" and gives details about two Crane letters and three inscriptions that surfaced after the publication of The Correspondence of Stephen Crane (13.3). Though interesting, none of these items are very important. 13.36b . "Stephen Crane to Clarence Loomis Peaslee: Some New Letters." RALS 22 (1996): 30-36. Wertheim reprints five letters of Crane to a former Syracuse College acquaintance and hopeful writer. Crane's advice about a story Peaslee sent to him was simple, "saw away at your story until you remove all superfluous elements." 13.36~ . "Stephen Crane in Galveston: A New Letter." Stephen Crane Studies 5.1 (1996): 2-5. Wertheim comments upon and reprints a letter to James Moser (fellow author and artist), 6 March 1895, in which Gane describes his enthusiasm for the drinking bouts he had with the Mayor of Galveston and managing editor of the Galveston News.

13.36d . "Stephen Crane Balks:Two New Letters." American Literary Realism 29 (1997): 76-80. Wertheim comments upon and reprints two of Crane's letters to the editors of the Saturday Evening Postconcerning the printing and then later the cut version of "God Rest Ye, Merry Gentlemen" that appeared in the 6 May 1899 issue. Crane writes of a missing paragraph, "I regard this particular massacre with some pain." Wertheirn concludes that the second letter furnishes more evidence that Crane did not passively acquiesce to editors.

Bibliography

14.la Dooley, Patrick K. Stephen Crane:An Annotated Bibliog- raphy of Secondary Scholarship. New Yo& G.K. Hall- Macmillan, 1992. xix+321. Dooley attempted to locate, an- notate, and soxt by category eve+g written about Crane from 1901 to 1991. There are 1,879 annotated entries- usually three or four paragraphs for books and a paragraph on articles. There is extensive cross-referencing of books and articles. Fourteen chapters sort the literature by category: Biography; General Criticism; The Red Badge of Courage (with separate sections on Literary Giticism and Textual Controversies); Bowery Works; "The Open Boat"; Western Tales; Poetry; Tales of Whilomsille;Journalism, Tales and Reports; Pot- boilers, England, Cora, Last Works; Style; Collections, Manu- scripts, Rare Books, and First Editions; and Letters and Bibli- ography. Each chapter contains an Overview that highkghts the articles that &serve special attention and are especially valuable. An author index and two appendices, I: Biographicd Indexes Searched and Journals Sweyed and 11: Additions to Robert Stallman's List of Contemporary Reviews of Works by Stephen Crane. This volume is now the standard bibliographi- cd source on Crane, supplanting Stallman's massive, but opinionated and ax-grinding, 1972 volume (see 14.3).

14.17a Berkove, Lawrence I. "Crane, Noms, Adarns and the Fin-de- Siecle." American LiteraryScholarship, An Annual 1993. Ed. Gary Scharnhorst. Durham: Duke UP, 1995. 187-191. Main events of the year were the appearance of Wertheim and Sorrentino's The Crane Log (1.10b) and Dooley's The Plu- ralistic Philosophyof Stephen Crane (2.5).

14.30a Bradbury, Malcolm "Stephen Crane and His Critics." The Red Badge of Courage by Stephen Crane. Ed Bradbury. London: Dent, 1993. 135-52. A survey of the criticalreaction to Red Badge from 1890-1990. Bradbury moves from the first debates about the novel's realism and authenticity versus its symbolism and impressionism, the 1930-1950 disputes about the novel's sources and religious symbolism, the 1960- 1980 textual controversies, and the recent scholarship about Red Badge as a "cultural case study."

14.44a Fullerton, B.M. "Stephen Crane." Selective Bibliographyof American Literature,1775-1900. New Yoxk Did Press, 1936 reissued in 1989, Woodridge, CT: Ox Bow Press. 72-73. Three paragraphs describing Crane as "intense and endowed with compelling energy" and mention of the first editions of Maggie, Red Badge, Black Riders,and The OpenBoat.

14.53a Etulain, Richard W. "Stephen Crane." Western American Literature:A Bibliography of InterpretiveBooks andArti- cles. Vedon, SD: Dakota Press, 1972. 54-56. An unannotated listing of secondary work on Crane's Western stories.

14.53b . "Stephen Crane." A Bibliographical Guide to the Study of WesternAmerican Literature. Lincoln: U of Ne- braska P, 1982. 122-24. Ten years later (see 14.53a), another unannotated listing of secondary work on Crane's Western stories.

14.56a Koszer, Donald N. "Stephen Crane." American Literature and Language:A Guide to Information Sources. Detroic Gale Research, 1982. 67-68. Standard secondary sources on Crane are listed

14.64a Pkr, Donald "Crane and The Red Badge of Courage:A Guide to Criticism." The Red Badge of Courage: An Authoritative Text, Background and Sources, Criticism. Ed. Donald Pizer. New York Norton, 1994. 120-45. Pizer reprints two sections "General Estimates and Interpretations" and "TheRed Badge of Courage" from his Crane contribution to Fifieen Amen'can Authors before 1900: Biblio- graphical Essays in Research and Criticism. Eds. Earl N. Harbert and Robert Rees, rev. ed., 1994, see 14.16) and he adds several perceptive pages (141-5) on Crane and Red Badge criticism from 1982 to 1992. Though brief, Pizer's last section gives judicious estimates on recent leading books and articles. 14.68a Scharnhorst, Gary. "Crane, Norris, Adams, and the Fin-de- Siecle, " American Literary Scholarship,An Annual 1991. Ed. David J.Nordloh. Durham: Duke UP, 1993. 207-10. The news of Beer's forgeries and fabrication made a decisive impact on this year's Crane scholarship.

14.68b Scharnhorst, Gary. "Crane, Noms, Adams, and the Fin de Siecle," American Literary Scholarship,An Annual 1992. Ed. David J.Nordloh. Durham: Duke UP, 1994. 204-9. The year's highhghts are Benfey's The Double Life of Stephen Crane @la) and Dooley's Stephen Crane An Annotated Bibliographyof Secondaty Scholarship (14.la).

14.74a Vanouse, Donald "Stephen Crane: An Annotated Bibliogra- phy of Articles and Book Chapters Since 1991." Stephen Crane Studies 2.1 (1993): 22-26. Annualupdate.

14.74b . "Stephen Crane: An Annotated Bibliography of Articles and Book Chapters Since 1992." Stephen Crane Studies 2.2 (1993): 53-58. Annual update.

14.74~ . "Stephen Crane: An Annotated Bibliography of Articles and Book Chapters Through 1993." Stephen Crane Studies 3.1 (1994): 22-25. Annualupdate.

14.74d . "Stephen Crane: An Annotated Bibliography of Articles and Book Chapters through 1994." Stephen Crane Studies 3.2 (1994): 37-39. Annualupdate.

14.74e . "Stephen Crane: An Annotated Bibliography of Articles and Book Chapters through 1995." Stephen Crane Studies 4.2 (1995): 69-77. Annualupdate.

14.74f . "Stephen Crane: An Annotated Bibliography of Articles and Book Chapters through 1996." Stephen Crane Studies 5.1 (1996): 28-32. Annualupdate.