ENG242 The Short Story Week 1 Outline

Week 1 Topics The prose tale Week 1 Tasks I. Getting Started Getting Started Quiz Introductory Discussion II. Resources Foster: - Chapters 1, 11 Charters: - Nathaniel a!thorne - "#oung Good$an %ro!n& - 'dgar (llan )oe - "Cas* o+ ($ontillado&, "Tell-Tale the Singe '++ect in a )rose Tale& -ectures 1, ., / III. cti!ities Discussion 1 Discussion . (ssign$ent Week 1 "alendar
#onday $ay 1
$ue Getting Started Quiz $ue Introductory Discussion Read Foster: Ch0 1 Read Charters: "#oung Good$an %ro!n&* "The Cas* o+ ($ontillado&, "The Tell-Tale

eart&, "The I$portance o+

Tuesday $ay 2
$ue Discussion 1

Wednesday $ay %
Read Foster: Ch0 11 Read -ecture /

Thursday $ay 4

&riday $ay '

$ue Discussion .

Saturday $ay (
$ue (ssign$ent

Sunday $ay )
$ue Discussion Foru$ Secondary )osts

eart&, "The I$portance o+ the Single '++ect in a )rose Tale& Read -ectures 1, .

ENG242 The Short Story Getting Started +ui,

I-portant In.or-ation .or a Success.ul /earning E0perience The lin*s under the "ourse In.or-ation area as !ell as those under Welco-e on the 1oodle o$e page contain 2ital in+or$ation a3out the course and 4ni2ersity re5uire$ents, policies, and procedures0 6e2ie! the +ollo!ing resources: 7nline -earning %asics o! to (ccess T4 '$ail Course Sylla3us -ate )olicy Course )olicies Course Calendar 6u3rics

6e2ie!ing this in+or$ation at the 3eginning o+ each ter$ !ill help you prepare +or the re5uire$ents o+ each course0 8hile $uch o+ the in+or$ation $ay 3e the sa$e, so$e courses ha2e a di++erent set o+ ru3rics, di++erent late policy, or di++erent due dates +or assign$ents0 Find out this in+or$ation early on so that you can plan your ti$e accordingly0 " o-pleting This Task 10 Ta*e the 5uiz 3y clic*ing on the tte-pt 1ui, no2 3utton 3elo!0 .0 (+ter co$pleting all the 5uestions, clic* on Su3-it all and .inish to su3$it the 5uiz +or grading0 I+ you need to sa2e your ans!ers and return to the 5uiz at a later ti$e to co$plete it, clic* on Sa!e 2ithout su3-itting0 /0 #ou !ill 3e ta*en to a screen to chec* !hat !as correct and !hat !as $ar*ed as incorrect0 (+ter you re2ie! your ans!ers, clic* on the &inish re!ie2 3utton0 #ou $ay reta*e the 5uiz i+ you !ish0 ssess-ent and Grading This acti2ity !ill 3e graded auto$atically in 1oodle0 -earning 7utco$e9s:: n;a $ue $ate4 5y -idnight on $ay 1

ENG242 The Short Story Introductory $iscussion

Welco-e to English 242 6 The Short Story7 )lease introduce yoursel+ to the class0 Share !ith other students a little a3out yoursel+0 (dd 5uestions that deal !ith the course topics 9e0g0 (re you an 'nglish $a<or= (re you an aspiring !riter= (re you an a2id reader= (re you a +an o+ the short story=: This is a great !ay to learn and share $ore a3out each other as !e 3egin this class together0 (lso, +eel +ree to attach a picture o+ yoursel+0 "o-pleting This Task To 8ost 9our Initial Response4 10 Clic* the Respond 3utton 3elo!0 .0 7n the 6espond screen, enter a descripti2e title in the Su3<ect area, and type your posting in the 1essage 3o>0 /0 (ns!er the 5uestion9s: in co$plete sentences0 %e as detailed as possi3le to ans!er the pro$pt thoroughly0 ?0 %e sure to chec* your spelling, gra$$ar, and punctuation0 9Note: #ou can also type your ans!er into a !ord processor and copy and paste it into the 1essage screen0 This !ill also help to chec* your !ord count0: @0 Clic* the 8ost to .oru- 3utton to su3$it your posting0 To 8ost &ollo2:up Responses to 9our 8eers4 10 7n the original discussion screen, postings !ill appear 3elo! at the 3otto$ o+ page0 Choose the posting that you !ant to reply to 3y clic*ing on its title0 .0 The posting !ill open on another screen0 Clic* the Reply lin* in the lo!er righthand corner o+ the posting0 /0 The 'diting screen !ill appear0 )lease note that the title is already +illed in +ro$ your peerAs original posting0 This is ho! the syste$ *eeps trac* o+ the discussion threads0 Type your response in the 1essage 3o>0 %e sure to chec* your spelling, gra$$ar, and punctuation0 ?0 Clic* the 8ost to .oru- 3utton to su3$it your response0 ssess-ent and Grading Writing Re1uire-ents - Initial )ost -ength: 1@B-.BB !ords - Secondary )ost -ength: $ini$u$ o+ 1BB !ords per post -earning 7utco$e9s:: n;a $ue $ate4 8ost initial response 3y -idnight on $ay 1* respond to at least t2o class-ates 3y -idnight on $ay ).

ENG242 The Short Story

Resources
Te0t3ooks Foster: - Chapters 1, 11 Charters: - Nathaniel a!thorne - "#oung Good$an %ro!n& - 'dgar (llan )oe - Cas* o+ ($ontillado&, "Tell-Tale Single '++ect in a )rose Tale& dditional Resources -ecture 1: Introduction to the Course -ecture .: FosterAs First The$es -ecture /: 'dgar (llan )oe C Nathaniel

eart&, "The I$portance o+ the

a!thorne

ENG242 The Short Story /ecture 1

Introduction to the "ourse (s I $entioned earlier, !elco$e to 'nglish .?. D The Short Story0 During the course o+ our ter$, !e !ill 3e e>ploring di++erent +or$s, the$es, styles, and 2ariations o+ the short story that !ill ulti$ately grant each o+ you the opportunity to 3etter understand this short +or$, increase your understanding o+ story structure, and hone analytical s*ills you can apply to all story +or$s0 The short story is its o!n particular 3east0 (s !e !ill see, right +ro$ our +irst readings, si$ply 3ecause these stories are short doesnAt $ean that they are any less i$portant or less po!er+ul than longer !or*s, li*e no2ellas and no2els0 The short story is a speci+ic +or$ an author has deli3erately chosen as the $eans to e>press a particular story0 %roaden your $ind to the !orld o+ art at large0 7ne !ould ne2er consider a painting 3etter si$ply 3ecause it is large0 Nor !ould one consider a painting insigni+icant 3ecause it is tiny or si$ple0 The sa$e could 3e said o+ $usic0 Si$ply 3ecause a piece o+ $usic is played 3y solo artist doesnAt $ean that it is any less 2alua3le than an opera0 (s !e !ill learn +ro$ the stories !e read and +ro$ 1r0 FosterAs How to Read Literature Like a Professor, great authors $a*e speci+ic choices !hen constructing a story0 So$e authors ha2e gone so +ar as to argue that each story is $erely a string o+ choices leading the reader through a tale +ro$ its 3eginning to end0 The choice o+ +or$ is as 2ital to an author as the plot and characters0 There ha2e 3een great authors throughout history !ho ha2e da33led in 3oth the long +or$ and the short: Nathaniel a!thorne, Eate Chopin, 'rnest e$$ing!ay, Eurt Fonnegut, and Stephen Eing D to na$e a +e!0 There ha2e also 3een authors !ho !rote in 2arious +or$s and then ca$e to re2ere the short story as their pre+erred +or$, $ost nota3ly 'dgar (llan )oe, the su3<ect o+ $uch o+ this !ee*As reading0 It !ill 3e our tas* to read each o+ the assigned stories closely and to do our 3est to insert oursel2es into the !orlds and characters the authors create0 There !ill 3e ti$es !hen these tales see$ too 3rie+, !here !e $ight !ish the story continued i+ only to allo! us to see $ore o+ the $ain character or 3ecause !eA2e 3een le+t !ith unans!ered 5uestions0 7ther ti$es, !e !ill $ar2el at ho! $uch an author can cra$ in to <ust a +e! short pages0 There !ill also 3e those stories that are, in point o+ +act, short: they +it per+ectly and tidily into their dozen or so pages0 o! each o+ us e>periences these Gprose talesA $ay 2ary greatly and that is !hy your reactions and interactions through our discussion 5uestions are so critical to the class e>perience0 In2est yoursel+ in the stories0 Dra! one anotherAs attention to !hat you consider e>citing, palpa3le, +aulty, unrealistic, lo2ely, and e>pertly !ritten0 (s an additional note, ans!ers to the discussion 5uestions should 3e !ritten !ith proper gra$$ar and spelling and should 3e proo+read prior to posting0 4sing the !ord processing progra$ o+ your choice, then copying your !or* into the course $essage 3oards o+ten pro2es a 3ene+icial $ethod0 Such a $ethod also gi2es each student a record o+ his or her !or* +ro$ throughout the course0

IAd 3e surprised i+ the +ull spectru$ o+ reactions listed a3o2e didnAt ta*e place +or each one o+ you as !e $a*e our !ay through the ter$0 'ach o+ our reactions is 2alid, especially i+ !e can 3ac* those reactions up 3y citing speci+ic $o$ents +ro$ the tales or 3y re+erencing the analytical techni5ues I !ill 3ring +or!ard in the lectures and 1r0 Foster !ill 3ring +orth in his te>t0 6e2isit the $essage 3oards throughout the !ee* to read through class$atesA posts and respond0 6e$e$3er that de3ate and disagree$ent is per+ectly +ine0 8e each ha2e our o!n opinions: thatAs part o+ !hat !ill $a*e this course so interesting0 o!e2er, 3e sure to still 3e considerate o+ one another !hen 2oicing disagree$ent0 ThereAs a great selection o+ stories ahead o+ us0 I hope you !ill en<oy the class and ta*e a!ay a ne!+ound respect +or the short story !hen the course ends0

ENG242 The Short Story /ecture 2

&oster;s &irst The-es E!ery Trip Is +uest <E0cept When It;s Not= (s Foster so rightly points out in 3oth the title and concluding $o$ents o+ Chapter 1, there is no such thing as Gal!ays,A Ge2ery,A Gne2er,A or GnoneA in the !orld o+ literature0 (s soon as a literary GruleA or Gtechni5ueA is esta3lished, it see$s there is an author !ho i$$ediately challenges it or e2en pro2es the rule to 3e utterly +alse0 Thus, !e $ust ta*e the the$es presented throughout FosterAs te>t as <u$ping o++ points, not hard and +ast restrictions that apply to each tale !e read0 That 3eing said, Foster does an e>pert <o3 o+ 3oiling do!n so$e o+ the pri$ary ele$ents o+ any story into a 3asic list that !e !ill see applies 9!ith 2arying degrees o+ success: to e2en the +irst !ee*As stories0 For our purposes, it is perhaps $ost 2alua3le to thin* 9nearly: e2ery story !e read to 3e a G5uestA or G<ourney0A Conse5uently, !e can start analyzing each tale 3y +irst loo*ing +or the +ollo!ing ingredients: (: a 5uester& 9Foster /: D 4sually the $ain character !ho sets out on a $ission at the start o+ the story0 8e can consider this character the Gprotagonist0A 7+ten, people e5uate this !ord !ith "hero,& o+ten that pro2es true0 %ut the o++icial de+inition o+ protagonist is a character !ho is trying to acco$plish so$ething0 9Foster /: "a place to go& 9Foster /: D 8here is this protagonist headed= 8hat is the goal= "a stated reason to get there& 9Foster /: D The *ey !ord here is "stated0& 7+ten, the protagonist !ill co$e right out and say G!hyA he or she is on the $ission0 "challenges and trials en route& 9Foster /: D These are the o3stacles the character $eets along the !ay0 (s youAll hear ti$e and again, "!ithout con+lict, there is no dra$a0& I+ a character !ere to say, "Today I a$ going to 3uy a car0& Then si$ply head to the sho! roo$ and 3ought one, i+ nothing else, the story !ould lac* interest0 The o3stacles, challenges, and trials D and ho! the protagonist +aces the$ D o+ten pro2e to 3e the $ost thrilling and interesting parts o+ any story0 Further$ore it is through these challenges and trials that the reason +or the $ission stated in step "C& $ay change, leading us to step "'0& the "real reason to go 9Foster /: 8hy steps "C& C "'& di++er can 3e the $ost crucial ele$ents o+ a story0 8hen a character stic*s to the $ission 3ut changes his or her reason +or acco$plishing the $ission, !e ha2e to as* oursel2es i+ that $eans the entire $ission has changed0 7+ten !e ha2e to step 3ac* and as* oursel2es !hether !e need to go 3ac* and e2aluate the original $ission0

%: C: D:

':

Foster then !rites "The real reason +or the 5uest ne2er in2ol2es the stated reason& 9Foster /:0 I, +or one, $ust i$$ediately call this state$ent into 5uestion D and I a$ interested to see your reactions D si$ply 3ecause o+ 'dgar (llan )oe0 8hen reading )oeAs stories this !ee*, in addition to the other parts o+ his story !eAll analyze, as* yoursel+ !hether his protagonists change the reasons +or their $issions0 8hat !e can ponder, as !e $o2e +or!ard and 3egin to analyze this ter$As stories, is !hether "The 6eal 6eason To Go& 9Foster /: changes or !hether it is so$ething entirely di++erent )erhaps, +or e>a$ple, the protagonist $isunderstood the $ission in the +irst place0 7r, it could 3e that there are t!o characters on di++erent $issions and their collision sets o++ an entirely di++erent plot0 7ther ti$es, it is si$ply a 5uestion o+ changing oneAs $ethods0 ( protagonist $ay stic* to his or her goal and reasons0 %ut, due to the challenges and o3stacles, the protagonist $ay ha2e to change how he or she plans to succeed: the $ission re$ains, 3ut the route is altered0 Consider Foster an entry point +or analysis0 7ne doesnAt ha2e to agree !ith his theories0 %ut ta*e the$ into account !hen studying a story and see !hether !hat he says applies0 I+ not, discussing !hat is ta*ing place instead is a great !ay to 3egin del2ing deeper0 > #ore Than It;s Gonna ?urt 9ou4 "oncerning @iolence It !ould 3e i$possi3le to ha2e a !ee* !here !e co2ered 'dgar (llan )oe and Nathaniel a!thorne !ithout discussing 2iolence0 %oth authors, as you !ill see +ro$ their stories and +ro$ $y lecture a3out the$, !rote particularly dar* tales that o+ten turned incredi3ly 2iolent0 Thus, discussing the use o+ 2iolence in stories is crucial0 Foster co2ers all sorts o+ 2iolence, including their literal or sy$3olic $eanings0 )erhaps it is 3est to start at the end o+ FosterAs re$ar*s and !or* through the$ in a slightly di++erent order0 (s readers, it is perhaps $ost help+ul to enlarge our ideas o+ 2iolence and !hat +alls under that u$3rella0 )hysical 3rutality and $urder are the +irst notions that co$e to $ind !hen discussing 2iolence0 They are perhaps the $ost o32ious and gi2en that !e ha2e entire sections o+ 3oo*stores no! that purely deal !ith cri$e, $urder, and horror as their o!n genres, itAs no !onder !e thin* this !ay0 Consider the $ystery story: i+ I !ere to say to you, "IA$ reading a $ystery,& !ould you assu$e that so$eone in the 3oo* $ust ha2e done so$ething 2iolent D "!hodunit& is the 5uestion= 7r !ould you say, "7h, is it the $ystery o+ !here you le+t your *eys=& 8eA2e allo!ed physical 2iolence and !hat Foster descri3es as "person to person& 2iolence to 3eco$e our do$inant thought0 With the two authors were studying this week that isnt the worst perspective! o!e2er, +or the course as a !hole, !e need to step 3ac* and consider not <ust !hat our characters are doing to one another, 3ut !hat the author is doing to the characters0 Illness, !eather, dialogue, e2en an GaccidentA can 3e an act o+ 2iolence0 Certainly, gi2en the !ide 3readth o+ stories that are out there, a character can cause any o+ these things

D including !eather i+ !e loo* at science +iction, +antasy, or $ythology0 %ut an author can thro! characters into a situation !here they su++er0 These acts o+ !riting a character into a pain+ul situation can 3e thought o+ as acts o+ 2iolence0 ereAs a hypothetical e>a$ple: ( 3ranch +alls +ro$ a tree and crushes a character, shattering his 3ones or crac*ing her s*ull0 ThereAs 3lood e2ery!here0 Do you only consider this act 2iolent i+ another character caused that 3ranch to +all= 7r is it also 2iolent i+ there !as a stor$ and this 3ranch snapped= That is loo*ing at 2iolence +ro$ a Gcause and outco$eA perspecti2e0 8hen so$ething se2ere and 3loody happens, la3eling it 2iolent $ay see$ auto$atic0 The ne>t step is to thin* a3out the act itsel+0 Foster $entions that stories can ha2e countless deaths in the$0 8hether that death is caused 3y Hac* the 6ipper or urricane Eatrina $a*es it no less 2iolent0 %ut !hat i+ the act is so$ething +ar si$pler= Can it 3e as po!er+ul= 8hat i+ a character -- %rea*s your +a2orite piece o+ <e!elry= Sleeps !ith your spouse= -oc*s you in a closet !hile the other children en<oy the only sunny day in 1BB years= The se2erity o+ 2iolence is not necessarily e5ual to its e++ect0 I+ !eAre sitting around !atching Screa each sta3 o+ the *ni+e is o32iously 2iolent0 %ut it is not necessarily G$eaning+ulA 9or Gsy$3olicA:0 ( slap, a cruel !ord, or the Gsilent treat$entA can pro2e +ar crueler !ithin our upco$ing stories0 In short, !hat Foster is telling us a3out 2iolence $ust 3e ta*en into account +or all aspects o+ the stories !eAll read this ter$: e2erything $ust 3e <udged !ithin the conte>t o+ the story0 I assure you that the young girl loc*ed in the closet, $issing the one sunny day o+ her li+e in 6ay %rad3uryAs "(ll Su$$er In ( Day& see$s a 2icti$ o+ +ar !orse 2iolence than $any o+ the $urder 2icti$s encountered in horror stories0 Is it "+air,& 9Foster IB: as Foster as*s, to e5uate this young girl $issing sunshine !ith another characterAs death= )ro3a3ly not0 %ut !e are tal*ing a3out literature, !e are not tal*ing a3out real li+e0 8e are tal*ing a3out i$aginary people 9+or the $ost part: li2ing in !orlds authors ha2e constructed !ith e>pectations and priorities that di++er +ro$ story to story0 This !ee*, yes, !e start !ith t!o dar* authors !hose acts o+ 2iolence are o32ious, deli3erate, and 3loody0 %ut as !e $a*e our !ay through the course, the goal !ill 3e to see* out the s$aller actions, the s$aller deeds, and si$ply the su++ering o+ the characters !e encounter0 The ne>t step is +or us to analyze ho! se2ere that 2iolence or cruelty see$s !ithin the conte>t o+ the story0 For no!, letAs start !ith )oe and a!thorne and see !hy 2iolence, dar*ness, and cruelty !ere such essential ele$ents to their !or*0

ENG242 The Short Story /ecture %

Edgar llan 8oe A Nathaniel ?a2thorne 8e 3egin our course !ith t!o short story $asters !ho !ere conte$poraries and +ans o+ one anotherAs !or*0 %oth )oe and a!thorne !ere nineteenth century authors !hose short !or*s !ere pu3lished in $agazines0 To this day, $agazines re$ain a great ho$e +or short stories D !he "ew #orker, +or e>a$ple, still pu3lishes short stories in each issue0 (s !e see +ro$ )oeAs article, cele3rating a!thorne, short stories !ere 3etter *no!n as "prose tales& during this ti$e period0 Why is the prose tale 8oe;s pre.erenceB For )oe, the short story !as the +or$ o+ choice 3ecause one could read it in entirety in one sitting0 No2els, +or the $ost part, are ne>t to i$possi3le to read straight through !ithout ta*ing a 3rea* o+ so$e sort0 Conse5uently, the author canAt *eep the reader in2ested in the piece - !ith the sa$e le2el o+ attention - +ro$ start to +inish0 (lso, !ith no2els, the author has no control o2er !hen the reader !ill set the 3oo* do!n0 I$agine a no2el saying "i+ youAre planning on ta*ing a 3rea*, no! !ould 3e a good ti$e0& Thus )oe, !ho 3egan his creati2e !riting career as a poet, lo2ed the prose tale 3ecause it !as the per+ect size +or reading "in one sitting& 9Charters IJI:0 The author could ha2e as $uch co$$and as possi3le o+ the readerAs attention and e>pecting that oneAs !or* could 3e read in one sitting !ould not place an unrealistic de$and on the reader0 (rt and entertain$ent are lu>uries that one incorporates 3et!een li+eAs $any o3ligations0 ItAs an interesting notion to consider ho! Gconsu$ingA a !or* o+ art piece 3y piece o2er long stretches o+ ti$e can i$pact oneAs appreciation o+ the !or* in its entirety0 8riting is considered an art that e>ists in the $ind o+ the reader0 The !ords on the page "paint a picture,& 3ut that picture is painted in the readers $ind, not on the page0 8riting a piece !hose length re5uired a readerAs $ind to lea2e and return !as unaccepta3le to )oe0 6ather than allo!ing li+e to interrupt the appreciation o+ his !riting, )oe opted to *eep his stories short0 e cele3rated Nathaniel a!thorneAs prose tales +or doing the sa$e0 8oe;s Tales 'dgar (llan )oe is o+ten considered the in2entor o+ the Gdetecti2e story0A Neither "Cas* o+ ($ontillado& nor "The Tell-Tale eart& has an in2estigator sol2ing a case, 3ut )oe !rote Gcri$e storiesA !ith intensity and le2els o+ description that thrust the reader into the narratorAs $ind, allo!ing the reader to appreciate the entirety o+ each heinous act0 Fro$ $oti2e to a+ter$ath, )oeAs attention to detail and his understanding o+ hu$an psychology lea2e the author !ith 2ery +e! 5uestions a3out !hat too* place0 I e$phasize !hat too* place 3ecause the large 5uestion one $ight as*, a+ter ha2ing read one o+ )oeAs stories, is why$! 8hy on earth !ould a person do such an a!+ul thing to another hu$an 3eing= '2en though such an enor$ous 5uestion hangs o2er each o+ his prose tales, )oe is so co$$itted to his narrators and their $issions, that !e see they ha2e no 5uestions a3out their cri$es: !hat they intend to do, they do0

(lready, !e ha2e to consider FosterAs re$ar*s +ro$ chapter one0 Do the stated reason and the real reason +or )oeAs narratorAs $issions di++er= Do these characters change their $issions= Do !e +ind out hal+!ay through the stories that the narratorsA intentions ha2e changed= 8ere the narrators not entirely +orthco$ing !ith the truth at the taleAs onset= These are certainly 5uestions to consider as !e analyze )oeAs !or*0 8ith 3oth stories, )oe selects the cri$inal as his narrator0 For so$e reason D possi3ly $adness D these narrators consider the$sel2es 2icti$s !ho are getting so$e +or$ o+ re2enge0 In reality, this re2enge is the $urder o+ a person the narrator *no!s 2ery !ell0 )oeAs narrators are G+a$iliar *illersA and his 2icti$s are Gunsuspecting ac5uaintances0A %oth $urders are ela3orate in 3oth their co$$ission and in the *illersA psychological <ourneys: these are not thoughtless acts0 I$agine !hat it !as li*e +or readers in the nineteenth century to ha2e read these stories considering they !ere the +irst o+ their *ind0 There !as no Si%ence of the La &s or 'ir% With the (ragon !attoo) There !asnAt an endless list o+ procedural cri$e sho!s li*e "Cri$inal 1inds& e>ploring the $oti2ations and $inds o+ *illers0 These !ere +irsts0 They !ere horri+ying0 They !ere gripping0 (nd they set a standard0 (nother interesting aspect to consider, !hen analyzing )oe, is the use o+ sound0 )oe 3egan his !riting career as a poet !ho $ade $aster+ul use o+ rhy$e0 e is still considered one o+ the $ost e>pert poets !hen it co$es to the use o+ repetition and internal rhy$e D rhy$ing !ithin one line o+ a poe$0 The sound o+ his !ords !as al!ays an essential ingredient0 ere, !ith "Cas*& and "Tell-Tale& !e see )oe has gone +urther0 Not only does the sound o+ his !ords $atter, 3ut also actual sounds D ringing 3ells, 3eating hearts, 3reathing, dripping D are e2ery!here0 In )oeAs tales, sound is haunting and $addening0 The cri$es $ay 3e triggered 3y so$ething or so$eone the narrator sees, 3ut they linger !ith so$ething the narrator hears0 Nathaniel ?a2thorne In addition to "#oung Good$an %ro!n,& Nathaniel a!thorne is 3est *no!n +or ha2ing !ritten !he Scar%et Letter0 Though considered a no2el 3y $odern standards, it is interesting to point out, especially in a short story class, that !hen a!thorne originally +inished !he Scar%et Letter his editors considered it too short0 e !ent 3ac* and !rote an enor$ous prologue to 3ring the story up to "no2el length& to satis+y the pu3lishers0 %ut a!thorne !as *no!n to tell readers to s*ip the prologue entirely and to en<oy the shorter 2ersion0 In +act, !hen I teach !he Scar%et Letter I a3ide 1r0 a!thorneAs !ishes and tell $y students to s*ip the prologue, as !ell0 This !as certainly a $an !ho appreciated the 2alue o+ 3re2ity0 I $ention !he Scar%et Letter 3ecause I i$agine $any o+ you ha2e either read or heard the details o+ that no2el0 I+ not, perhaps youA2e seen '$$a Stone in *asy + D !hich is hardly a su3stitute +or a!thorneAs 3oo*, despite the +act that it is a co$pletely entertaining $o2ie0 8hat one can see in any o+ these 2ersions is that a!thorne !as 2ery critical o+ ($ericaAs puritanical relationship !ith religious +aith0 Though a Christian, as !as the 2ast $a<ority o+ ($erica in his ti$e, a!thorne despised the !ay in !hich

people !ere <udged 3y religious standards citizens clai$ed to 3elie2e in pu3lic, 3ut did not practice 3ehind closed doors D or out in the dar* !oods0 a!thorne used his stories to 3e a social critic0 e used Colonial ($erica D hundreds o+ years 3e+ore his ti$e D as the setting +or $uch o+ his !or* 3ecause he considered it a place his readers auto$atically assu$ed had heightened religious pressures0 Further$ore, Colonial ($erica !as a place !here readers *ne! the line 3et!een religion and la! !as 3lurry0 o! else could a thing li*e the Sale$ 8itch Trials ta*e place= a!thorne has no 5ual$s a3out $a*ing his characters and their <ourneys 2ery literal D al$ost co$ically o2erly done in their sel+-a!areness0 e played o++ na$es and ideas that had dou3le $eanings in each o+ his tales0 )oe doesnAt do this in the least, thus itAs i$portant to ta*e a loo* at ho! a!thorne does this and to *eep it in $ind as !e $o2e through the ter$0 Ta*e a loo* at the tale !e read this !ee*0 Considering the $adness that ta*es place around the protagonist, could there 3e a $ore +itting na$e than Good$an= Ta*e a loo* at the 2ery start o+ the story0 Good$an not only lea2es ho$e, he lea2es "Faith0& #es, that is his !i+eAs na$e0 %ut one has to consider, !ould "Good$an& ha2e 3een 3etter o++ i+ he had <ust stayed ho$e !ith his "Faith=& Is the only !ay +or a person to see the truth to lea2e Faith 3ehind and to !ander into the dar*ness= Does a3andoning Faith lea2e you !al*ing through the !oods !ith the de2il= a!thorne had no pro3le$ laying those 5uestions D as deli3erately and literally as possi3le D at his readersA +eet0 (+ter all, this is <ust a 3rie+ prose tale0 a!thorne is $a*ing so$e enor$ous state$ents !ith "#oung Good$an %ro!n0& 8hy not di2e in=

ENG242 The Short Story $iscussion 1

E!ery Trip Is +uestC 5ut $o We Need &oster;s Re1uire-entsB Consider FosterAs chapter "'2ery Trip Is ( Quest0& In all three o+ the stories read this !ee*, our protagonists are on 5uests0 )oeAs protagonistsA 5uests ha2e +ar $ore to do !ith the e>ecution o+ a plan than they do actual tra2eling0 8hen it co$es to a!thorne and "The #oung Good$an %ro!n,& an actual <ourney is under!ay0 Initial 8ost -oo* 3ac* o2er the ideas Foster puts +or!ard as essential to any 5uest and select one )oe story along !ith a!thorneAs tale0 (nalyze the stories using FosterAs list o+ essential ingredients0 (s you do so, there are a nu$3er o+ su3-5uestions you $ay !ant to ta*e into account: Is FosterAs list o+ !hatAs re5uired su++icient= Does a story need to $eet all o+ his re5uire$ents to 3e success+ul= (re there ele$ents in the stories co2ered this !ee* that Foster has o2erloo*ed= I+ so, !hat do you thin* should 3e added to the list and !hat title !ould you gi2e this additional ingredient= Secondary 8osts For your secondary post, see* out t!o class$ates !ho ha2e co$e up !ith additional ingredients Foster should ha2e included, pointed out ingredients they donAt consider necessary, or ha2e e>pressed an o2erall opinion that di++ers +ro$ your o!n0 'ngage your class$ates in a discussion a3out your si$ilarity or di++erence o+ opinion0 Should you disagree, see i+ you can +ind a $iddle ground or a !ay o+ rede+ining FosterAs ele$ents that !ould please you 3oth0 ssess-ent and Grading Writing Re1uire-ents - Initial )ost -ength: 1@B-.BB !ords - Secondary )ost -ength: $ini$u$ o+ 1BB !ords per post This acti2ity !ill 3e graded using the Discussion Foru$ Grading 6u3ric0 -earning 7utco$e9s:: 1, ? 10 (nalyze the de2elop$ent o+ the short story as a literary genre0 ?0 (pply critical theories !hen e>a$ining stories0 $ue $ate4 8ost initial response 3y -idnight on $ay 2* respond to at least t2o class-ates 3y -idnight on $ay ).

ENG242 The Short Story $iscussion 2

&a-iliar &iends In each o+ the stories read this !ee*, the 2illain !as so$eone !ho *ne! his 2icti$9s: !ell0 I ha2e du33ed this pair o+ characters the G+a$iliar *illerA and the Gunsuspecting ac5uaintanceA D these are not o++icial literary ter$s, 3ut I thin* they su$ up !hatAs ta*ing place0 Initial 8ost 8hat is the e++ect o+ ha2ing the 2icti$ and the perpetrator already connected= So$e su3-5uestions to consider in your analysis: Does it increase the i$pact o+ the story or does it con+ine the !orld o+ the story and ulti$ately decrease the i$pact= 8hat a3out the 2iolence that ta*es place in these tales: does ha2ing an esta3lished relationship or history 3et!een the characters increase the i$pact o+ the 2iolence or does it detract +ro$ the 2iolence 3ecause !e are so +ore!arned a3out !hat is going to ta*e place= o! does this close relationship a++ect your idea o+ the 2icti$= Do you +eel li*e the 2icti$ should ha2e seen it co$ing= Do you +eel !orse +or the 2icti$= There are t!o sides here, re$e$3er that0 8hen it co$es to 2iolence, it can o+ten 3e the *nee<er* reaction to +ocus on !ho co$$itted the act0 DonAt +orget the 2icti$0 Secondary 8osts Find t!o +ello! class$ates !ho ha2e chosen a )oe or a!thorne story you did N7T !rite a3out in your initial post0 6ead through his or her post care+ully0 '>press !hether you +elt the e++ect o+ ha2ing a +a$iliar +iend in these tales0 %e sure to add at least t!o additional reasons ha2ing a +a$iliar *iller adds to or detracts +ro$ the i$pact o+ the story0 ssess-ent and Grading Writing Re1uire-ents - Initial )ost -ength: 1@B-.BB !ords - Secondary )ost -ength: $ini$u$ o+ 1BB !ords per post This acti2ity !ill 3e graded using the Discussion Foru$ Grading 6u3ric0 -earning 7utco$e9s:: ., /, ? .0 Identi+y di++erent literary ele$ents and their i$pact on the story0 /0 Categorize story and the$es D 3ased on genre, ti$e period, e$otional content, etc0 ?0 (pply critical theories !hen e>a$ining stories0 $ue $ate4 8ost initial response 3y -idnight on $ay '* respond to at least t2o class-ates 3y -idnight on $ay ).

ENG242 The Short Story ssign-ent

Essay on 8oe or ?a2thorne )lease select one o+ the t!o essay topics 3elo!0 )lease use cited e>a$ples and 5uotes +ro$ the stories0 I+ you are applying concepts +ro$ Foster, please 3e sure to cite e>a$ples and 5uotes, as !ell0 10 (s $entioned in the )oe lecture, one o+ the reasons )oe $a*es such enor$ous use o+ sound in his stories is that he 3egan his creati2e !riting career as a poet and had a great ear +or language0 %ut he is not si$ply using the sound o+ language in his stories, he +ocuses a great deal o+ attention on sound and hearing0 8hat are the e++ects o+ )oeAs +ocusing on sound in his stories= Is there so$ething a3out sound that lends itsel+ $ore readily to horror and $ystery stories= Find a scene +ro$ a horror $o2ie you +ind to 3e particularly scary0 (s an a+ter note to your paper, tal* a3out the role sound played in creating a $ore terri+ying scene0 No! that you ha2e read )oe and !ritten this paper, !hat role do you thin* sound plays in horror that has stayed true +ro$ )oeAs ti$e to our o!n= #oung Good$an %ro!n 3eco$es a distrust+ul and cynical $an a+ter his night in the !oods0 Can a hu$an 3eing regain a positi2e outloo* o+ the !orld a+ter such an e>perience= Does a!thorne put #oung Good$an %ro!n through too $uch or are there parts o+ the $odern !orld !here the $etaphorical "party in the !oods& is ta*ing place each night !hile people clai$ to 3e pure= (s part o+ your paper, +ind a ne!s article that spea*s to your point o+ 2ie! !hen it co$es to the "party in the !oods0& 8hat accusations !as a!thorne $a*ing a3out society that hold true to the present day=

.0

"o-pleting This Task 10 Clic* the 5ro2se 3utton 3elo! to select your assign$ent +ile0 .0 Then clic* Dpload this .ile 3utton0 /0 8hen you are ready to su3$it the assign$ent, clic* Send .or -arking0 ?0 Then clic* 9es to con+ir$ su3$ission0 ssess-ent and Grading Writing Re1uire-ents <#/ .or-at= - /-? pages 9appro>0 /BB !ords per page: - 1-inch $argins - Dou3le spaced - 1.-point Ti$es Ne! 6o$an +ont - 8or*s Cited page This assign$ent !ill 3e graded using the 8ritten (ssign$ent Grading 6u3ric -earning 7utco$e9s:: 1, @, K

10 (nalyze the de2elop$ent o+ the short story as a literary genre0 @0 For$ulate ne! critical theories a3out the stories under study and apply these theories to gi2en stories0 K0 Co$pose !ell-constructed essays that use e>cerpts +ro$ course !or* to support !ritten argu$ents0 $ue $ate4 5y -idnight on $ay (

ENG242 The Short Story What +uestions $o 9ou ?a!eB

General $iscussion )lease post any 5uestions you ha2e a3out this !ee*As topics0 This is an opportunity to learn +ro$ your peers and de2elop a 3etter understanding o+ the content, !hich !ill help you $o2e +or!ard in this course0 $ue $ate4 "o-plete as necessary