The Scheme For Analysis
1. Introduce the author.
Give bibliographical information about the author, his literary career.
Which literary trend do his works belong to? Say some words about the history of development of this trend.
Give names of its main representatives. What genre does/did he work in? Characterize this genre.
Speak about the author’s main works and their problems: the time and the place of the action, social and
political background, the main characters, etc.
2 Speak about the history of creation of the work Identify the type of the work, its genre and functional style (e.g. the belles-letters style, publicistic style, newspaper style, scientific prose style, the style of the official documents ).
3. Speak about Structural Division of the work. – architectonics
How many pages, chapters, prefase, etc. does the work have?
4. State the situation of the work, or summarize the contents of the work in bare bones.
5. Analyze the title.
What does the title suggest is likely to happen in this work?
Is the title appropriate, do you think? Does the title indicate anything about the theme?
6. Analyze setting.
What is the work's setting in space and time? How many hours, days, years, etc does it cover?
How does the author go about establishing setting? Does the author want the reader to see or feel the setting; or
does he want the reader both to see and feel it? What details of the setting does the author isolate and describe?
Is the setting important? If so, what is its function? Is it used to reveal, reinforce, or influence character, plot, or
theme? Does it provide a realistic background? What atmosphere does it evoke?
Is the particular setting essential or could the story have happened anywhere at any time?
Is the action fast or slow moving? Is the setting an appropriate one?
7. Analyze Theme
Does the work have a theme? Is it stated or implied?
What generalization(s) or statement(s) about life or human experience does the work make?
What elements of the work contribute most heavily to the formulation of the theme?
Does the theme emerge organically and naturally, or does the author seem to force the theme upon the work?
What is the value or significance of the work's theme? Is it topical or universal in its application?
8. Analyze Point of View.
What is the point of view, who talks to the reader? (It may be: first-person point of view, omniscient point of
view, limited omniscient point of view, stream of consciousness, dramatic point of view)
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Is the point of view consistent throughout the work or does it shift in some way?
Where does the narrator stand in relation to the work? Where does the reader stand?
To what sources of knowledge or information does the point of view give reader access? What sources of knowledge or information does it serve to conceal?
If the work is told from the point of view of one of the characters, is the narrator reliable? Can we trust his judgments? Does his or her personality, character, or intellect affect an ability to interpret the events or the other characters correctly?
Given the author’s purposes, is the chosen point of view an appropriate and effective one?
How would the work be different it told from another point of view?
Does the author speak in his own voice or does he present the events from the point of view of one of the characters? Does the narrator sympathize with the characters?
Is there any change in the point of view? What effect does this change have?
9. Analyze Plot and Composition.
What is a conflict (or conflicts) on which the plot of the book turns?
Is the conflict external or internal?
Describe the plot in terms of its exposition, complication, climax (crisis), falling, action and resolution (denouement).
What are the chief episodes or incidents that make up the plot? Is its development strictly chronological, or is the chronology rearranged in some way? Are there any flashbacks and foreshadowing?
Compare the plot's beginning and end. What essential changes have taken place?
Is the plot unified? Do the individual episodes logically relate to one another?
Which episodes have been given the greatest emphasis?
Is the ending appropriate to and consistent with the rest of the plot?
Is the end clear-out and conclusive or does it leave room for suggestion?
Is the plot plausible? What role, if any, do chance and coincidence play?
On what note does the story end?
10. Analyze Characters.
Who (or what) is the protagonist of the work and who (or what) is the antagonist?
Describe traits and qualities of each.
What is the function of the work's minor characters?
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Identify the characters in terms of whether they are flat and round, dynamic or static.
What methods does the author employ to establish and reveal the characters(direct or indirect method of
characterization)? Are the methods primarily of showing or telling?
Does the narrator employ interior monologue to render the thoughts and feelings of the characters?
Are the actions of the characters properly motivated and consistent?
In the course of the work do the characters change as a result of their experience?
Are the characters of the work finally credible and interesting?
11. Analize Style, SD, Tone and Mood.
Describe the author's diction. Is the language concrete or abstract formal or informal, literal or figurative? What
part of speech occur most often?
Analyze the choice of words (The vocabulary is divided into: neutral, bookish, literary (archaisms, foreign
words, terms, neologisms), colloquial strata (slang, vulgarisms, jargonisms, dialectical words).
If its an extract, identify, whether it is narration, dialogue, interior monologue, or digression.
What use does the author make of:
a) patterns of rhyme and sound (the emphatic use of punctuation, alliteration, assonance, consonance, onomatopoeia and other graphical and phonetic stylistic devices, such as, the changed type (italics, bold type, etc) or spelling (multiplication – “laaarge”, “rrruin”), hyphenation – “des-pise”, “g-irle”);
b) figurative devices (lexical SD: metaphor, metonymy, zeugma, synecdoche, pun, paradox, hyperbole, personification, epithet, oxymoron, euphemism, irony; lexico-syntactical SD: simile, periphrasis, antithesis, represented speech.);
c) grammar constructions, the use of tenses, voices, articles, constructions with the verbals, plural forms of abstract nouns, imperative sentences, contracted forms, oblique moods etc;
d) syntactical SD (inversion, rhetorical question, repetition – anaphora, epiphora, framing reduplication; parallelism, polysyndeton, asyndeton).
Are the sentences predominantly long or short; simple; compound, or complex; loose, periodic, or balanced?
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Describe the author's tone. Is it, for example, sympathetic, detached, condescending, serious, humorous, or
ironic? How is the tone established and revealed?
What are the distinctive characteristics of the author's style? In what ways is the style appropriate to the work’s
subject and theme?
Analyze Symbols.
What symbols or patterns of symbolism (or allegory) are present in the work? Are they important? Are the
symbols traditional, original or private?
What aspects of the work (e.g., theme, setting, plot, characterization) does the symbolism (allegory) serve to
explain, clarify, or reinforce?
Does the author’s use of symbolism (allergy) seem contrived or forces in any way, or does it arise naturally out
of the interplay of the story’s major elements?
13. What is the moral and massage of the work? Do you share the author's conception? If not, what can you oppose? Did the author achieved his purpose, did he manage to realize (and to what degree) his idea.
14. Make up a conclusion.
Clichés
In the first place, To begin with, To start with, First of all, First some introductory remarks as to…I should like to indicate/ outline … I’m indebted to mention… Firstly let me dwell upon ….,To first thing which I’d like to note…, The key thing I’d like to start with is…, In the first place I’d like to draw your attention to…, I find little to say in favor of…, In the first place let me point out (emphasize, stress) the main features of …, The method of presentation of the material is… The author shares the conception… It needs to be said that…The thing that impressed me most of all is… It is of primary importance to point out that…, Touching upon the problem of.., Let’s consider the following questions… Before taking up this problem I’d like to throw light on…. The subject of my analysis is… I would like to note that… Nevertheless I have some remarks with regard to … Speaking about w eaknesses of the work… The writer failed to… First some remarks on… Perhaps it will be problematic to… It seems that some items of the article lead us to the conclusion that… It is especially significant to… Alongside…he should…. You should take into account…I would like to raise some questions related to… There is no need to enumerate … This analysis is oriented forward to … This gives rise to the view that… I would like merely to say in this connection that… Within such a context… To make it more clear… If this interpretation tends to be correct… I have in mind here… All this provides a broad spectrum of …
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Secondly, In the second place, In addition to that, Apart from that, What is more, Moreover, Besides, More than that, These assumptions call attention to… Thus we see that…in order to go more thoroughly into…Let’s switch over to…
Finally, Lastly, Above all, In conclusion, To sum up, Taking everything into account, All in all, All things considered, In brief, In short, In a word, In a nutshell, In other words, All that has been said points to… Perhaps some illustrations may be helpful here. Here is an illustrative explanation of… Previous investigations show … Strictly speaking (to be more precise)… From the standpoint of… Nevertheless, Some remarks on, It’s beyond doubt that, All the same, After all, In contrast, On the one hand, On the other hand,The resume can be stated in two general observations …Thus I dare to conclude…That brings me to the end of my criticism. …That’s the way I look at things. Thank you for your attention.
ESTABLISHING FACTS In fact, The fact of the matter is that…, As a matter of fact, At first sight, On the face of it, In practice, In theory, In principle, etc.
EXPRESSING PERSONAL OPINION In my opinion, In my view, To my mind, As I see it, Personally, For my part, As far as I’m concerned, I believe/ consider/ reckon/ think/ suppose that…, As far as I can judge..,etc.
MODIFYING, etc
Generally, In general, As a rule, On the whole, For the most part, To some extend, To a certain extend, Up to a point, As far as I know, To the best of my knowledge, For all I know, According to…, By all accounts, Under the circumstances, As it is, Things being as they are, Clearly, Obviously, Needless to say, There is no need to say, Naturally, Supposedly, Presumably, As everyone knows, In particular, Especially, In other words, That is to say, As regards…, With regard to…., In this connection, As far as …is concerned, It proves that… At least for orientation it is necessary to… Therefore it is reasonable… To gain a deeper/more profound insight into … In any case, Anyway, At any rate, It is desirable.., From the point of view of…, On the contrary, Vice versa, The other way round, Furthermore, Therefore, Thus, For this reason, On the whole, Hence, That’s why, Essentially, In order to…I have been debating with myself constantly as to how I could best express the sentiments I want want to convey to you…I’ll switch to the main issue now and start discussing the subject at length and in detail …I can’t make up my mind where I stand on this…I must admit, I’m afraid I’m tempted to agree…I shall put across my massage in more ordinary terms … Or I could just state a few useless facts and figures and leave it at that.
IN THE COURSE…
The main weight of my analysis will fall upon… One of the fundamental principal issues discussed in the article is… It emerges clearly that… The interpretation of the main idea doesn’t go beyond the surface… The identification of the main idea doesn’t require much effort... It takes great pains to identify the main idea… The plot of the story is put around … The author intentionally supplies details aimed to confuse/disorient/ bewilder the reader… Consideration is given to… The differences of opinion center mainly on… Controversial standpoints were expressed in connection with opinions regarding… Different assessments can be made of…A question still to be examined in detail is… This goes to show … The general considerations provide a rich harvest of comments. The action unfolds dramatically/chronologically/naturally/coherently … In the first paragraph of the story, the narrator is intent on establishing his voice and identity as …
The concrete, factual details are introduced without comment….
The differences in sensibilities are first clearly signalled by …
The story we witness and assemble largely by ourselves is one of….
The characters do not yield a clear-cut or satisfactory resolution.
The passage perfectly illustrates the famous… style –economical & terse/highly-figurative & colourful
It is characterized by short, simple sentences and active verbs; by an informal, commonplace vocabulary of short, denotative words; the absence of unnecessary adjectives and adverbs, and by concentration on particular concrete images that record the surface level of experience.
Descriptive details of setting are sparse though important…
The setting is intimately and organically connected with the meaning and unity of the total work.
The setting establishes an appropriate mood/ tone (humorous, joyful, ironic, light, hopeful, brisk, lyrical, celebratory, wistful, sad, dreary, mournful, lugubrious, tragic, solemn, poignant, earnest, curt, hostile, sarcastic, cynical, ambivalent, etc) that anticipates and foreshadow our eventual meeting with the main character.
We subsequently discover that this setting has direct thematic relevance to the author’s conception of…
Such details, however, are clearly subordinate to the dialogue, which carries the narrative movement of the story and temperance of the character-participants.
The dialogue itself is difficult to follow. It is random, deadpan, indirect, and inexplicit …
The author juxtaposes/depicts/reveals …
The aim is to raise expectation and emotional tension.
The style is simple and straightforward (sophisticated and obscure), much as you would expect from someone trying to persuade us that he is a real person worthy of belief.
The author’s obvious intent is to establish, from the outset, the appropriate setting and atmosphere for the story - one that will simultaneously arrest the reader’s attention and evoke an appropriate emotional response.
The opening sentence, surely one of the most famous in all of American literature, is a long, periodic one, in which a series of rhythmic phrases and clauses are deliberately arranged to suspend, until the very end, and prepare the way for, the object of the narrator’s search.
The writer carefully intensifies his visual details with adjectives and adverbs and reinforces their effect through the use of alliteration and onomatopoeia.
The details he uses are less important for their concrete, denotative qualities, however, than for the way they capture and reflect the character’s own subjective appreciation of life and its sensual pleasures.
What the author provides is a series of rich, lyrical, and evocative images which convey a sense of life in motion – images that are made all the more alive and poetic because they seem to spring from the crowded associations of memory.
The writer employs a number of devices…that are used to suggest the hypnotic and sensual appeal.
Such statements help to explain the playful, self-conscious quality of the author’s own fiction; they help to explain his choice of subject matter and narrative technique, and his choice of style as well.
His style – with its long, complex, and convoluted sentences, its abstract diction, its rapid changes in point of view, its use of such visual devices as italics, blank spaces, quotation marks, and dashes – is designed to make the artifice part of the point and to solicit our active involvement as intelligent readers.
The objective point of view places the burden of interpretation on the reader …
Conflict and complication are neither shown nor prepared for, but only revealed; the situation and the “story” are to be understood and completed through the active participation of the reader.
The temporal sequence of events is broken, we encounter the characters in the middle of their “story” and must infer what has happened up to “now”. Note that narrator makes no direct comment nor expresses ….
I have to say that the author leaves too much unsaid, unspoken.
Exposition and complication are omitted in favour of a plot that begins “in the midst of things”.
The story takes the form of a single, self-contained episode.
The story is specific, making me engage myself fully with the plight of individuals.
Focusing on …., I am led to think about personal…
Let me to quote a few lines…The strongest position of the text is…It makes the desired impact on the reader.
Most of the (dreadful) details - such as… - played down.
I’m left with a host of feelings: pity, tenderness, outrage, anxiety and fear, and sense of vertigo, my mind in a whirl from the rapidity of events.
All go into the making of how I feel and what I am made to see.
The author’s speech fully discloses the feelings and thoughts of the character, his world outlook.
This details are used deliberately to suggest and reinforce meaning, to provide enrichment by enlarging and clarifying the experience of the work, and to help to organize and unify the whole.
The protagonist – narrator controls the content, pace, and method of presentation.
Certain events are fully/partially dramatized as the protagonist witnesses them; others are transmitted to the reader indirectly through the use of summary and comment.
The protagonist – narrator tends to dominate his work to the disadvantage of other characters, and by continually calling attention to his own presence, and to his own thoughts and feelings, fully characterizes himself in the process.
The story can be characterized by/have: - an absorbing/enthralling plot — a fascinating insight into - a well thought-out plot - many dazzling/ enchanting/ picturesque moments/details - a powerful climax - thoroughly enjoyable –sensational colour – thrilling speed – a gripping climax – tremendous fun –
-an excessively slow and boring look at life - a chaotic story-line - horribly unnatural dialogue - an anti-climax - an ending that was ludicrous — absurd — laughable — ridiculous – drab – grotesque – hideous - totally nonsensical -dreadfully disappointing - absolutely worthless – pointless.
THE AUTHORS
1. Saki No one knows why Hector Hugh Muaro (1870-1916), called himself Saki but he used the pseudonym when be published his first volume of Reginald stories in 1904 and continued to use it for his subsequent fictions. He was born in Burma of Scottish parents, and although he is often referred to as an English writer, there are many Scottish themes, connections and most especially attitudes in his work. He went back to Burma at twenty-three, to work as a military policeman, but was invalided home to London within a year, and turned to writing to earn a living. Munro had been raised in North Devon by two aunts after his mother died, and at times his work seems to speak for the period before the First World War when, for one class at least, life was slow, peaceful and well-mannered. Yet he is best remembered for his macabre or supernatural pieces and, better than anyone, he can use humour or a series of outrageous premises to make a serious point.
‘Sredni Vashiar’ is from his third collection of stories, The Chronicles of Clovis (1912). There may well be shades of his strict upbringing in. North Devon in the tale, but he returns to the theme and develops it in later volumes, obviously warming to the idea of animals as agents of revenge against mankind.
Munro enlisted as a trooper in 1914 and two years later he was shot through the bead while resting in a shallow crater somewhere in France.
2. Mark Steven Hess has lived nearly all his life on Colorado's vast High Plains, east of Denver. In high school, he was interested mostly in science until his senior year, when he wrote a short story that impressed his English teacher, who had just published a first novel. "I'd hate to suggest this to anyone," the teacher said, "but why don't you try writing?" Hess took the advice, finding time to write during the summers. He also became a high school English teacher in Brush, Colorado, one hundred miles northeast of Denver. The school enrolls four hundred students, some of whom travel forty or more miles a day to attend classes. Sports are important in the school, so besides teaching, Hess coaches the Brush "Beetdiggers" teams in boys' and girls' track and girls' basketball. Hess offers this report on how the name came to be: "School legend has it that the name 'Beetdiggers' was chosen in a contest in the 1940s. The prize for the winning student was to be a used car. Now, the basketball team's star player was a country kid who had no way to get home after practice and so was going to have to quit the team. What would you do in a case like that? At Brush High School, it was silently agreed that whatever name this player chose would win the contest. The rest is history."
"Where You Have Been, Where You Are Going"—Hess's first published story—was chosen for the 1989 volume of The Best of the West: New Short Stories from the Wide Side of the Mississippi. "The story really came out my love for Colorado's High Plains," the author says. "When you stand on the open prairie, you get the sense that you're incredibly alone. Recently, irrigation has turned the High Plains into beautiful farmland, but there are still many places out here almost untouched by humans—miles and miles of prairie and sage that could just swallow you up."
Within that context of isolation, Hess dramatizes ways that connections are made between generations. He also reminds us that in the American West, as in other "uncharted" parts of the world, the "tall tale"—like those told by the grandfather in this story—became the way explorers described the wonders they had seen to open-mouthed audiences back home. Like the land that provides its setting, this story rises and falls between different time periods. (Extra space between paragraphs signals the shift from one time to another.) In the first time period ("today"), the narrator retraces the steps of a walk in his childhood. In the second time period (forty years earlier), he relives the day of that walk. In the third time period (forty-one years earlier), he remembers the time he met his grandfather and a story that the grandfather told. In the fourth time period (more than forty-one years earlier), the grandfather's story takes place. (This flashback technique—having a character remember a past event which the audience then sees—is familiar from movies.) As the title suggests, we must remember the past in order to understand the present and anticipate the future.
3. John Updike (1932) A chronicler of contemporary middle-class and upper-middle-class American life, John Updike is the author of thirteen novels, nine collections of short stories, four children's books, and one play, as well as poetry, essays and criticism. How did such a writer develop from, as Updike has written of himself in Self-Consciousness (1989), "a very average little boy, and furthermore a boy who loved the average, the daily, the safely hidden"?
Updike was born in Shilllnoton, a small town in eastern Pennsylvania, in 1932. His father was a high school math teacher who had previously been a telephone cable-splicer ("a telephone lineman" is mentioned in "The Orphaned Swimming Pool"). His parents and grandparents, like many Americans, had lost most of their money during the Depression. Nevertheless, Updike's mother, an unpublished writer, encouraged her son to plan a future in the arts—drawing or writing—rather than in a safe, ordinary job. Two other factors also influenced the unusual development of the "average little boy." The first factor was a pair of physical problems—a chronic skin disease and a stutter—that made Updike self-conscious about both his body and his speech. The second factor was his high intelligence, which enabled Updike to earn high grades in school, as well as a full scholarship to Harvard University and a one-year post-graduate fellowship to Oxford University.
At Harvard, Updike majored in English but wrote short stories only when they were required for a class, being much interested in drawing cartoons and writing light verse. Yet the first story Updike wrote after graduating in 1954 was accepted by The New Yorker, and he worked as a sttiff writer there for a year when he returned from Oxford. In 1957, seeking a climate that would help him to control his skin problem, Updike moved to the Boston suburbs and became a full-time writer. There he has devoted his happiest hours to preparing words for print, "words as smooth in their arrangement and flow as repeated revision could make them."
"The voice of fiction speaks in images," Updike reminds us, noting that he finds his own fictional voice "when the images come abundantly, and interweave to make a continuous music." For "The Orphaned Swimming Pool," these images are based on the details of suburban American life. The story shows his characteristic use of brand names—for example, Triscuits (a salty wheat cracker), Agitrol (a chemical used to control algae), and Off! (a bug spray/insect repellent)—in creating a realistic setting. It also illustrates Updike's continuing interest in "the animating force of sexual desire behind polite appearances." What is the connection between sexual desire and a swimming pool? And what can the title mean? An orphan is a child who has lost both parents. How can a suburban swimming pool be "orphaned"?
4. Murray Bail was born in Adelaide in 1941 and is rapidly becoming one of the best known of the new generation of Australian writers. He started writing in 1965. and ten years later his first collection of short stories was published under the title Contemporary Portraits and Other Stories.
He lived in Bombay for two years before moving to London in 1970. While spending four years in London, Murray Bail worked in advertising as well as contributing to various journals including the Transatlantic Review and the Times Literary Supplement.
Currently he lives in Sydney, where he has written further short stories, and he has recently completed his first novel, entitled Homesickness, published in England in 1980.
Murray Bail is a painstaking and serious craftsman and one of the most consistently 'avant-garde' of young Australian writers - a theoretician of the 'new' fiction very unlike the traditional type of journalistic realism that many other Australian writers often produced. He is fully aware of much that he feels contemporary writers should avoid, and is more in the tradition of writers like Kafka or the Argentinian writer Jose Luis Borges, whom Bail greatly admires.This deceptively simple story, like many of his other stories, is a matter of persuading the reader to consider a speculative proposition -'How would it be if...?' or in this particular case perhaps, 'Why really does Joe Tapp live as he does...?'
5. Ernest Hemingway was born in 1899 into the family of a respectable doctor who lived in a Chicago suburb. During the First World War he volunteered as an ambulance driver in Italy, but he was soon wounded, and hospitalized there. After the War he returned to America and first married in 1921.
During the following years he worked as a newspaper correspondent in Europe, and met a number of famous writers including James Joyce and the poet Ezra Pound, and his first poems and short stories were published in Paris in 1923. In 1954 Hemingway was awarded the Nobel Prize for literature. He spent much of the later part of his life in Cuba, where he died in 1961.
Hemingway became a famous writer within his own lifetime, particularly being known for his very distinctive style of writing - deceptively simple and direct — which many other writers have tried to follow with little of his success. Above all he was known for his very tough, typically American style which often mirrored his own keen interest in sports like bull-fighting, big-game hunting and deep-sea fishing — all of which provided themes for his fiction. Among his best known works there are: A Farewell to Arms (1929), To Have and Have Not (1937), collection The Fifth Column (1938), For Whom the Bell Tolls (1940), The Old Man and the Sea (1952), A Movable Feast (1964), The Garden of Eden (1986), The Dangerous Summer (1985).
6. Oates, Joyce Carol 1938- American novelist, short-story writer, poet and critic. She was born at Lockport, New York, in the 'Eden County' of many of her novels, and educated at Syracuse University and the University of Wisconsin. Her intense, often violent vision, sustained throughout a prolific writing career, is perhaps most powerfully expressed in Wonderland (1971), based on lewis carroll's Alice stries, and in the loosely arranged trilogy, A Garden of Earthly Delights (1967), Expensive People (1968) and Them (1969; National Book Award). Other novels include With Shuddering Fall (1964), The Assassins: A Book of'Hours (1975), A Bloodsmoor Romance (1982) and a trilogy of pastiche Gothic romances, Mysteries of Winterhurn (1984J. Solstice (1985) and Marya:A Life (1986). She has explored the incursion of random violence into suburban lives in American Appetites (1989) and Because It is Bitter, Because It is Mv Heart (19901. Black Water (1992) is a novella recognizably based on Senator Edward Kennedy's accident at Chappaquiddick. Her short-story collections are By the North Gate (1963), The Wheel of Love (1970) which includes the often anthologized 'Where are You Going, Where have You Been' and 'The Region of Ice', The Goddess and Other Women (1974), The Seduction and Other Stones (1975), Last Days (1984) and Raven's Wing (1987). Her essays and criticism include The Edge of Impossibility: Tragic Forms in Literature (1972), The Hostile Sun: The Poetry of D. H. Lawrence (1973), Contraries: Essays (1981). On Boxing(1987) is a monograph, sometimes tendentious and sometimes trenchant, further evidencing her fascination with violence. Volumes of poetry include Women in Love, and Other Poems (1968) and Anonymous Sins, and Other Poems (1969).
7. Leslie Marmon Silko 1948- American poet, novelist and short-story writer. Born of mixed ancestry (Laguna Pueblo, Mexican, and Anglo-American), she was raised in traditional Laguna ways but educated in white schools, notably the University of NewMexicoat Albuquerque. Her work uses material and techniques from traditional Laguna sources to explore contemporary issues and dilemmas. Her best-known work remains Ceremony(1977), a novel about Tayo, a half-breed Laguna haunted by his experiences in the Pacific during World War II. Silko has also published- Laguna Woman (1974), a collection of poems; Storyteller (1981), a collection of poetry and short fiction; and a screenplay, Black Elks. The Delicacy and the Strength of Lace (edited by Anne Wright; 1985) collects the correspondence between Silko and james wright.
8. Shirley Jackson (1919-65) American novelist and short-story writer. Her first novel, The Road through the Wall, appeared in 1948, the year in which THE NEW YORKER published her best-known short story, “ The Lottery ” (a depiction of a communal rite in which each year a person chosen by lot is stoned to death), which established her reputation. Her next novel, The Hangsaman (1951), explores the schizophrenia of a young girl and typifies that portion of Jackson’s oeuvre concerned with the dark side of human nature. She also produced a quality of humorous stories and articles.
9. Ozick, Cynthia 1928- American short-story writer and novelist. She was born in New York and educated at New York and Ohio State universities. Her first novel. Trust, was published in 1966. Written in the first person, it is the story of the unnamed daughter of Allegra Vand, who searches for the father whom her mother has prevented her from knowing; she no sooner finds him than he dies. The Pagan Rabbi and Other Stories followed in 1971. Both this volume and Bloodshed and Three Novellas (1976) reflect Ozick's interest in mysticism and the supernatural. In 1981 she published another collection of short works. Levitation: Five Fictions. The Cannibal Galaxy (1983) and The Messiah of Stockholm (1987) are novels and The Shawl (1 980) brings together a novella and a short story about the ordeal in later life of a Holocaust survivor. She has twice received the 0. Henry Award (1975 and 1980). Art and Ardor (1983) and Metaphor and Memory (1989) are collections of essays.
LIST OF LITERATURE
1. Chapter end Verse, OXFPRD, 1990.
2. 20th Century American Short Stories, Volume 1 and 2; Heinle & Heinle Publishers, 1994.
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