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Thesis-1997D-D674c.Pdf (4.841Mb) THE CORNELIUS ARMS By PETER J. DONAHUE Bachelor of Arts University of Washington Seattle, Washington 1987 Master of Arts Virginia Polytechnic Institute and State University Blacksburg, Virginia 1990 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY July, 1997 THE CORNELIUS ARMS Thesis Approved: Dean of the Graduate College ii ACKNOWLEDGMENTS I wish to express my sincere appreciation to my major advisor, Dr. Linda Leavell, for her invaluable scholarship and encouragement. My appreciation extends to my other committee members: my dissertation director, Dr. Brian Evenson, for his guidance, learning, and insistence on exploring the unconventional; Mark Cox for his support and unflagging faith in the creative process; and Dr. Gordon Weaver for his experience and insistence on learning the conventions. My thanks also go to Dr. Jeffery Walker and the Department of English, Dr. Edward P. Walkiewicz and Cimarron Review, and the Oklahoma State University Foundation for their moral and financial support. Finally, I would like to express my special gratitude to Susan Green for her enduring love, support, and understanding throughout my graduate school years, and to Eric Green and Elizabeth Green for their continued love and inspiration. iii TABLE OF CONTENTS Page CRITICAL INTRODUCTION The Genre Which is Not One: •••.•...•..•.•.....•.••..•.. 1 The Short Story Cycle and The Cornelius Arms Any Resemblance to Persons Living or Dead .............. 25 Is Not Coincidental: The Story Behind the Stories Works Cited~ ........................................... 32 THE CORNELIUS ARMS Hybrid .................................................. 37 Marta . ............. ·.................................... 6 7 Bald Heads and Broken Glass ..••...••..•....••.......... 96 The Cornelius Arms ( Warranties) ...........•............ 120 Rising Moon in the Stairwell .•.•..•.....•........•....• 146 Magnus Opus ............................................ 15 6 ~· Smitty and Dolores~ ................................... 168 Leathers . ............................................... 191 The Pearl of Puget Sound .•.••..•.•........•.. ~ ...•..... 210 The Cyst . ...... 2 3 3 _ Partners ............................................... 247 Car 1 ................... ii ••••••••••••• · •••••••••••••••••• 2 7 O A Solace of Ripe Plums .....•.••.•.•.......•..••.••...•. 286 The President Walks Home ..................•............ 310 The Cornelius Arms (Worries) ....•........••.•.......... 319 iv CRITICAL INTRODUCTION The Genre Which Is Not One: The Short Story Cycle and The Cornelius Arms Discussions of genre commonly attend to questions of definition. What is an epic, a romance, a poem, a novel? Aside from length, how does a short-short story differ from a short story, a short story from a novella? Where and how do we mark generic boundaries? How does history redraw those boundaries? The issue of definition has proven especially vexing for the short story cycle, a mode which seems to exist between more accepted genres, namely the short story, the short story collection, and the novel. The difficulty in defining the short story cycle is suggested by the many labels critics apply to the mode. Of the four published, book-length studies of the mode, two critics, Forrest L. Ingram and Susan Garland Mann, call it a "short story cycle." Ann R. Morris and Margaret M. Dunn adopt the term "composite novel," while J. Gerald Kennedy prefers "short story sequence. 11 Other terms which critics have offered up include Dallas Lemmon's "rovelle" (a hybrid of roman and novelle), Joanne V. Creighton's "short story composite," Pleasant Reed's "integrated short-story collection," Joseph Reed's "short story compound," and 1 Kathryn Etter's "short story volume." The difficulty in defining the mode implied by this lack of consensus over terminology is further complicated by the figurative language which critics often use to describe it. Forrest L. Ingram compares the short story cycle to tapestries, wheels, and, finally, mobiles: "because the interconnected parts ... seem to shift their position with relation to the other parts" (13). Robert M. Luscher talks about bubbles within a "thematic current" (152), Joanne V. Creighton describes Faulkner's Go Down. Moses as "a collage, a pastiche of dissimilar piecesn (85). Such figurative language suggests the challenge to critical discourse in coming to terms with the slippery, ever-shifting nature of the mode--its betweenness. Such language seems to say that the short story cycle can approximate something, be like something--or a combination of things--but never something definite unto itself. Despite such thorniness in discussing the short story cycle, critics nonetheless manage to agree on aspects of the mode's general history as well as various formal characteristics. In tracing back to antiquity the impulse to combine separate tales to create a larger effect--a consensus trait of the mode--Susan Garland Mann cites The Odyssey and The Iliad, works which "were originally composed of individual stories sung by different bards and passed on orally from one generation to another" (1). She traces the modern short story cycle back to framed tales such as A 2 Thousand and One Nights, Boccaccio's The Decameron, and Chaucer's The Canterbury Tales. From the nineteenth century, she establishes the continuity of the mode in works such as Ivan Turgenev's A Sportsman's Sketches (1847-51), George Eliot's Scenes of Clerical Life (1857), and Arthur Conan Doyle's The Adventures of Sherlock Holmes (1892). Yet, after the nineteenth century had brought the coming of age of the novel and the short story, the short story cycle, in the twentieth century, began to achieve its own generic integrity--not through critical attention but rather a proliferation of works in the mode. Hamlin Garland's Main­ Traveled Roads (1891) and Sarah Orne Jewett's The Country of the Pointed Firs (1896) anticipate the trend in America. Two works, though, James Joyce's Dubliners (1914) and Sherwood Anderson's Winesburg, Ohio (1919), are commonly recognized as inaugurating the interest in the short story cycle which has extended throughout the twentieth century. The increased interest in the short story cycle among Modernist writers (Anderson, Faulkner, Hemingway, Joyce, Kafka, Stein, Toomer, to name a few) stems from the crisis these writers perceived in traditionally stable forms of order and meaning. As Malcolm Bradbury claims, "the shock, the violation of expected continuities, the element of de­ creation and crisis, is a crucial element of the style" of Modernist writers (24). In the early twentieth century, Modernist writers worked to break down the inadequate literary forms left over from the nineteenth century while 3 experimenting with new forms which would allow them to create and sustain meaning into the new century. Out of this project, Ferdinand de Saussure's recasting of the conventional concept of language, from one of representational symbols to one of "sets of relations" or "paradigms" among linguistic signs, provides a model for what Modernist writers were attempting with genre through the short story cycle (Cohen and Shires 12). While individual stories in a cycle contain signs which create their own set of relations, each maintaining a fairly independent narrative structure, each story also functions within a broader set of relations that is the cycle. The processional nature of these paradigms, as they operate with and against one another, resist the kind of static, one­ dimensional meaning which Modernists feared in the established, representational forms of the nineteenth­ century novel and short story. Robert M. Luscher paraphrases the paradigmatic nature of short story cycle when he explains that "the artist who creates a short story sequence ... draws a wide circle which contains a number of smaller ones, introducing another dimension into his geometry. He takes advantage of the fact that [quoting Henry James] 'really, universally, relations stop nowhere'" (154). Meaning in the short story cycle derives as much from the processes in which the mode engages as from the product resulting from those processes. In addition to the literary tradition of the modern 4 short story cycle, critics usually agree on several, basic characteristics of the mode. Mann points to the title as the first generic signal, explaining that the title "is used to emphasize that a [short story cycle] is not a miscellany or a 'mere' collection" (14). The title often underscores the work's source of unity, according to Mann, who gives as examples Anderson's Winesburg. Ohio (place), Evan S. Connell's Mrs. Bridge (character), and Russell Baker's Success Stories (theme) (14). Beyond the title, Morris and Dunn outline several additional characteristics of the cycle, beginning with the basic definition of it as "a literary work composed of shorter texts" (8). These shorter texts, or "text-pieces," are "individually complete and autonomous" and, at the same time, "interrelated in a coherent whole" (8, 12). Mann also recognizes this dual quality, referring to it as "simultaneous self-sufficiency and interdependence" (15). According to Ingram, the element which make the short story cycle coherent/interdependent is pattern, which is derived from either a static, external structure such as a frame, or from a dynamic, internal structure established through recurrence (of narrative technique or thematic
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