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100 Must-Read Contemporary Short Story Collections

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The Best American Short Stories - Wikipedia

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Enter your email address and we'll send you our best deals Subscribe. About Booking. Extranet Login. All rights reserved. Contrary examples like Raymond Carver , who wrote almost no piece of fiction longer than a dozen pages, tend to confirm the rule. Carver, who died too young in , was praised for his reticence and verbal thrift.

He was a great miniaturist whose work grew in an anxious, straitened era, whose virtues lay in going small and staying home. But the conventional wisdom in American letters has always been that size matters, that the big-game hunters and heavyweight fighters — take your pick of Hemingway-Mailer macho sports metaphors — go after the Great American Novel. But this maximalist ideology may be completely wrong, or at least in serious need of revision.

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The great American writers of the 19th century, whose novels are now staples of the syllabus, all excelled in the short form. And the first great American fiction writer, Edgar Allan Poe , secured his immortality by packing more sensation into a few pages than most of his contemporaries could manage in a volume. The near-simultaneous appearance of three new literary biographies offers a powerful and concentrated challenge to the habit of undervaluing the short story.

And this work, far from being minor, is among the most powerfully original American fiction produced in the second half of the 20th century. Much of it, indeed, makes the novel look superfluous.

Short story

As for Barthelme, he not only brought the energies of the indigenous avant-garde to the pages of The New Yorker , but also somehow married high-powered experimentalism with middlebrow entertainment without betraying either. Reading through their collected stories, you wonder if novels are even necessary.

The imperial ambitions of a certain kind of swaggering, self-important American novel — to comprehend the totality of modern life, to limn the social, existential, sexual and political strivings of its citizens — start to seem misguided and buffoonish.

They came up in very different social milieus and show no marked affinities of style or influence. What their three subjects shared was the good fortune of writing at midcentury, when the institutions of print supported the flourishing of the short story as never before or since. There were mass-circulation magazines and more-exclusive journals that would pay writers for stories that readers would spend money to read.