The best short stories of 1915, and the yearbook of the American short story
General
The best short stories of 1915, and the yearbook of the American short story
American fiction -- 20th century; Short stories -- 20th century -- Bibliography; Short stories -- 20th century -- Indexes; Short stories, American
One new periodical and one new short story writer claim unique attention
this year for their recent achievement and abundant future promise.
A year ago a slender little monthly magazine entitled the _Midland_
was first issued in Iowa City. It attracted very little attention,
and in the course of the year published but ten short stories. It has
been my pleasure and wonder to find in these ten stories the most vital
interpretation in fiction of our national life that many years have been
able to show. Since the most brilliant days of the New England men of
letters, no such group of writers has defined its position with such
assurance and modesty.
One new short story writer has appeared this year whose five published
stories open a new field to fiction and have a human richness of feeling
and imagination rare in our oversophisticated literature. I refer to the
fables of Seumas O'Brien. At first one is struck with their utter
absence of form, and then one realizes that this is a conscious art that
wanders truant over life and imagination. In Seumas O'Brien I believe
that America has found a new humorist of popular sympathies, a rare
observer and philosopher whose very absurdities have a persuasive
philosophy of their own.
The two established writers whose sustained excellence this year is
most impressive are Katharine Fullerton Gerould and Wilbur Daniel
Steele. Lincoln Colcord's two stories show qualities of artistic
conscience reënforcing an imaginative substance so real that another
year or two should suffice for him to take his place with the leaders
of American fiction. I must affirm once more the genuine literary art
of Fannie Hurst. The absolute fidelity of her dialogue to life and its
revealing spirit, not despite, but rather because of the vulgarities
she accepts, seem to me to assure her permanence in her best work.
A rare literary art, not dissimilar in fundamentals, and quite as
marvellously documented, is revealed by Rupert Hughes in his series of
stories in the _Metropolitan Magazine_ this year. In "Michaeleen!
Michaelawn!" he has succeeded greatly. It is a story which it will be
difficult for Americans to forget.
Public-domain text, read in full here on John Shaqi.
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