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Samuel Glenn MODERN LOVE AND OTHER STORIES WITH AN INTRODUCTION TO THE GENRE AND SCHOLARSHIP INCLUDING A SURVEY OF THE TEXT Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for Master of Arts in English by Samuel Jonathon Glenn UNIVERSITY OF DAYTON Dayton, Ohio May, 2014 MODERN LOVE AND OTHER STORIES WITH AN INTRODUCTION TO THE GENRE AND SCHOLARSHIP INCLUDING A SURVEY OF THE TEXT Name: Glenn, Samuel Jonathon APPROVED BY: _________________________________ Albino Carrillo, MFA Faculty Advisor _________________________________ Andrew Slade, PhD Faculty Reader _________________________________ James Boehnlein, PhD Faculty Reader _________________________________ Sheila Hughes Chair, Department of English ii © Copyright by Samuel Jonathon Glenn All rights reserved 2014 iii ABSTRACT MODERN LOVE AND OTHER STORIES WITH AN INTRODUCTION TO THE GENRE AND SCHOLARSHIP INCLUDING A SURVEY OF THE TEXT Name: Glenn, Samuel Jonathon University of Dayton Advisor: Professor Albino Carrillo Modern Love and Other Stories is a collection of short stories set around that oscillates between a central protagonist and his surrounding online world. This project presents and analyzes the challenges of finding a place in today’s society. With fiction as the tool, the short stories reveal truths about human nature, growing up, parental relationships and attempts to discover happiness. The focus is less on plot and more on the illumination and examination of structures of feeling within ordinary people. Characters bleed from one story to the next, ideas remain afloat, and the reader finds meaning in the sum of the collection’s parts. iv ACKNOWLEDGEMENTS My eternal thanks is owed to Professor Albino Carrillo, Dr. Rebecca Potter, Dr. Andy Slade, Dr. James Boehnlein, Dr. Bryan Bardine and Dr. Yvonne Teems-Stephens for their unwavering support and guidance—not only with this thesis but all phases of graduate school and teaching students. I would also like to thank my creative writing professors from The Ohio State University who played a huge part in my development as a writer: Erin McGraw, Lee Martin, Kim Brauer and Julian Anderson. Last but certainly not least, I need to thank my family and friends for not only inspiring these stories and these characters, but also inspiring me to be ambitious and to follow my passion. Everything I am is owed to your encouragement. v TABLE OF CONTENTS ABSTRACT…………………………..………………………………………………….iv ACKNOWLEDGEMENTS……………...………………………………………………..v CRITICAL INTRODUCTION The Short Story Collection: Genre and Possibility……….…………...…………..1 MODERN LOVE AND OTHER STORIES I Was Dressed for Success…………………...…………………………………..14 Asphyxia by Proxy…………....………………………………………………….28 So Far Around the Bend…………………………………………………………31 Paralyzed………………………………………………………………..……..…38 A Study in Love Abroad...……………………………………………..………...44 Friction…………………….……..………………………………………………56 Cliffhangers………….……………………………………………………….......59 Panopticon………………….………………………………………………….…64 Modern Love……………….………………………………………………….…68 WORKS CITED……………………………………………………………………........80 VITA……………………………………………………………………………………..82 vi CRITICAL INTRODUCTION The Short Story Collection: Genre and Possibility While the cultural history of the short story is only a few decades longer than that of film, the consensus subscribes to the belief that the short story existed in various forms for millennia. As William Boyd writes, if the short story was a new genre, why could Hawthorne, Poe and Turgenev write “classic and timeless short stories virtually from the outset”? (Boyd, “A Short History of the Short Story”). The most suitable answer is that the short story lied dormant in the human imagination, and its later emergence only signaled the development of a well-practiced, literary mode of storytelling. The modern short story in English is largely credited to Edgar Allen Poe, who pioneered and popularized the form in the nineteenth century. In addition to its first champion, Poe can be called the form’s first theorist. Writing in 1842, Poe declared that the aim of “the tale proper” was “unity of effect or impression” (46). By the twentieth century, Poe’s “tale proper” had adopted the sobriquet “short-story” and was viewed as a bona fide art form. In 1901, Brander Matthews expounded on the theory, clarifying that a “true Short-story is something other and something more than a mere story which is short” (57). Practitioners and readers of short stories knew that there was more to the genre than length, and began to list characteristics: “symmetry of design,” 1 “compression,” and “ingenuity” from Matthews (57); “oblique narration, cutting (as in the cinema), the unlikely placing of emphasis, or symbolism” from Elizabeth Bowen, nearly forty years later (153). Bowen went on to argue that short stories combat the “too often forced and false” denouement of novels with endings that resonate as closer to an “aesthetic and moral truth” (155). The stories formerly known as “tale propers” became an accepted part of the literary community. With the modernists, the short story advanced to the preferred method of storytelling for a period of time. Celebrated American writers like F. Scott Fitzgerald, Ernest Hemingway, William Faulkner and, eventually, Flannery O’Connor took the form to unprecedented levels of respect and resonance throughout the middle part of the twentieth-century. There was a period in time when stories published in The New Yorker and The Paris Review produced substantial splashes in the world of letters. The short stories of this era established “the style” of story that survives today. Creative Writing programs in universities across the country still edify the style and form established during the modernist period. By the 1970s, interest in the art form had waned. Charles E. May begins Short Story Theories—basically the textbook for scholarship on the genre—by lamenting the current status of the short story: “Although the short story is respected by its practitioners, it is largely ignored by both the popular and the serious reader. Moreover, the most valuable critical remarks made about the form have been made not by the critics but by the short story writers” (3). Then, twenty years ago, May published an updated, buoyant version of his important anthology of theory, New Short Story Theories. In the preface, May reports that much has changed in the interim: “More serious writers are 2 experimenting with the form, more publishers are willing to take a chance on short-story collections, and more critics are seriously discussing the short story” (xi). The optimism was shortlived, however, as just two years ago, May checked in again, with an essay this time, “The American Short Story in the Twenty-first Century.” The hope of 1994 had faded; May reported plainly: “If readers do not want to read short stories, publishers certainly will not publish collections of them, and periodicals that have to make a profit will stick to pictures and celebrity-oriented nonfiction” (299). In nearly two centuries of existence, the short story has seen its stock rise and fall. From Poe to Matthews to May, there has been thoughtful engagement with the genre. While the outlook seems as bleak today as it was in 1976 when May published the original Short Story Theories, there was a period when short stories had recaptured the attention of critics and readers alike—thanks to authors like Raymond Carver. This current downturn will pass; the short story is not dead. The genre and its practitioners will again adapt and re-engage with the reading public. As Nadine Gordimer wrote in her essay, “The Flash of Fireflies,” the short story must be better equipped to attempt the capture of ultimate reality at a time when (whichever way you choose to see it) we are drawing nearer to the mystery of life or are losing ourselves in a bellowing wilderness of mirrors, as the nature of that reality becomes more fully understood or more bewilderingly concealed by the discoveries of science and the proliferation of communication media outside the printed word. (179) 3 While that prescient essay was written in the ‘70s, the call to action can be transferred to the current generation. If short stories are to break out of this current recession, they must do so by carving a new place for the genre within literary studies and society. A Case for Short Stories It has been established that readers and critics are apathetic about short stories. A.L. Bader diagnoses the problem in his article, “The Structure of the Modern Short Story,” when he states that readers “maintain that the modern short story is plotless, static, fragmentary, amorphous—frequently a mere character sketch or vignette, or a mere reporting of a transient moment, or the capturing of a mood or nuance—everything, in fact, except a story” (107). Readers have expectations of storytelling and, while they’re satisfied with what film, television and novels provide, there is genuine uncertainty directed towards short stories. As for critics, May provides a succinct summation: “If the short story is not popular with popular readers, it is not taken seriously by serious critics either” (4). Why write short stories then? As mentioned earlier, the short story has the capability of gaining influence over readers and critics once again. The genre is not outmoded or endangered; short stories simply need to remember how to resonate. According to Frank O’Connor’s “The Lonely Voice,” short story writers need to find the previously neglected characters and bring them to the page. As O’Connor argues, a heroic protagonist has never defined the short story. Instead, the short story has showcased a “submerged population group” (86). Current short story writers need to find that submerged population, which “changes its character from writer to writer, from generation to generation” (O’Connor 86). 4 Short stories are capable of presenting these submerged characters because, as H.E. Bates puts it, short stories have “advantages of elasticity, in both choice of character and use of time” (75). With its flexible nature, the short story can be molded in ways that a novel simply cannot.
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