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The American literary tradition has, in a far shorter span of time than others throughout history, achieved a glowing and glittering reputation. From its transatlantic roots it has absorbed the sons and daughters of other cultures, other lands and made them part of her own. Within this melting pot of styles, genres and wordplay one fact stands out: In the American short story, Literary tradition has a strong, vibrant and almost inclusive history, if you know where to look.

Throughout the long centuries of human history is the want, and the need, to share information, to exchange ideas and for that knowledge and experience, for curiosity and learning, to be the basis of a civil society. In this volume we offer up a small selection of talents from the literary landscape of the American male author whose time has now come again.

In this series we explore the many facets of love through literary talents that span both time and country. By a choice of vows each undertakes to stay with the other through the good times and the bad. And most probably there will be plenty of both and much in between. But the union of marriage comes in many shades and hues, some balanced, some destined to last a lifetime and others set to fizzle out or stumble to an ill-mannered conclusion in separation or divorce and, of course, death.

Short stories have always been a sort of instant access into an author’s brain, their soul and heart. They can lift our lives into locations, people and experiences with a sweep of landscape, narration, feelings and emotions that is difficult to achieve elsewhere. A new century dawns, one in which America would become pre-eminent as its industrial might and military power rose above all others. In literature too its authors tackled new forms and new ideas, they shied away from little, immersing themselves and their readers in the promise of a new Century.

When we read or listen, words can have a transforming effect. Our mood can alter in the space of a few sentences from joy to sadness. And not just our mood. These words can affect us physically, they can engage our emotions and even in their sadness bring a lump to our throat and tears to our eyes. Sometimes the relief can be palpable. Our authors, from Anton Chekhov, Stephen Crane, Willa Cather, Katherine Mansfield and a wealth of others, are well aware of what their talents will evoke. Genius has many names.

The American literary tradition has, in a far shorter span of time than others throughout history, achieved a glowing and glittering reputation. From its transatlantic roots it has absorbed the sons and daughters of other cultures, other lands and made them part of her own. Within this melting pot of styles, genres and wordplay one fact stands out: In the American short story, literary tradition has a strong, vibrant and almost inclusive history, if you know where to look.

Alice Ruth Moore was born on 19th July 1875 in New Orleans where she was part of the multi-racial Creole community. She was the first generation seemingly born free after the Civil War and unusually for the times, obtained a university education which led to her becoming a teacher at a public school in New Orleans. Alice Dunbar Nelson was a natural and gifted writer across many genres, from novels, essays, plays to diaries, criticism, poetry and of course short stories, of which ‘The Stones in the Village’ is a fine example.

The American literary tradition has, in a far shorter span of time than others throughout history, achieved a glowing and glittering reputation. From its transatlantic roots it has absorbed the sons and daughters of other cultures, other lands and made them part of her own. Within this melting pot of styles, genres and wordplay one fact stands out: In the American short story, literary tradition has a strong, vibrant and almost inclusive history, if you know where to look.

The American literary tradition has, in a far shorter span of time than others throughout history, achieved a glowing and glittering reputation. From its transatlantic roots it has absorbed the sons and daughters of other cultures, other lands and made them part of her own. Within this melting pot of styles, genres and wordplay one fact stands out: In the American short story, literary tradition has a strong, vibrant and almost inclusive history, if you know where to look.

Uriah Derick D’Arcy seems to all intents to be a literary pseudonym. Why no-one would want to take ownership of this story from its first publication in 1819 has been the subject of several conjectures. The only settled agreement is that it was written by a man and from there the trail runs cold until it was reprinted in 1845 and attributed to Robert C. Sands. But modern opinion now suggests that the true author was his fellow Columbia graduate Richard Varick Dey, a theologian, who’s religious career caused him to distance himself from the creation of this remarkable story.