In Junot Díaz’s short story collections, Drown (1996) and This Is How You Lose Her (2012), sound plays a crucial role in the representation of the experiences of the Dominican migrants in the United States who populate their pages. The collections show the liminal situations which the stories’ characters face, emphasizing their shifting acoustic environments and the pressure to shape one’s own sonic identity to meet the demands of the new language and culture. The experiences of these Dominican migrants – particularly how they are targeted by the Americans they encounter because of their accents – reflect the politics of a cultural neo-racism which differs from the discourse of colonial Otherness but which bears the same monocultural logic. As such, the stories’ migrants become silenced rather than invisible. At the same time, a belief in the power of the Other’s personal and culturally specific voice as a transformative element is emphasized in these collections with Díaz’s use of Spanish and the narrator’s persistent presence throughout all of the stories.
在Junot Díaz的短篇小说集《Drown》（1996年）和《This Is How You Lose Her》（2012年）中，声音在描述美国多米尼加移民的经历方面发挥了至关重要的作用，这些移民在他们的页面中占据了一席之地。这些作品集展示了故事人物所面临的极限处境，强调了他们不断变化的声学环境，以及塑造自己的声音身份以满足新语言和文化需求的压力。这些多明尼加移民的经历——尤其是他们如何因口音而成为美国人的目标——反映了一种文化新种族主义的政治，这种政治不同于殖民地的“他者”话语，但具有相同的单一文化逻辑。因此，故事中的移民变得沉默，而不是隐形。与此同时，迪亚斯对西班牙语的使用以及叙述者在所有故事中的持续存在，在这些作品集中强调了对他者个人和文化特定声音作为变革元素的力量的信念。
{"title":"Invisible or inaudible? The representation of working-class immigrants in the short fiction of Junot Díaz","authors":"Mónica Fernández Jiménez","doi":"10.1386/fict_00034_1","DOIUrl":"https://doi.org/10.1386/fict_00034_1","url":null,"abstract":"In Junot Díaz’s short story collections, Drown (1996) and This Is How You Lose Her (2012), sound plays a crucial role in the representation of the experiences of the Dominican migrants in the United States who populate their pages. The collections show the liminal situations which the stories’ characters face, emphasizing their shifting acoustic environments and the pressure to shape one’s own sonic identity to meet the demands of the new language and culture. The experiences of these Dominican migrants – particularly how they are targeted by the Americans they encounter because of their accents – reflect the politics of a cultural neo-racism which differs from the discourse of colonial Otherness but which bears the same monocultural logic. As such, the stories’ migrants become silenced rather than invisible. At the same time, a belief in the power of the Other’s personal and culturally specific voice as a transformative element is emphasized in these collections with Díaz’s use of Spanish and the narrator’s persistent presence throughout all of the stories.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43489869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The interrelations of sound, voice and silence in three realist short stories by Sylvia Townsend Warner from the 1940s are discussed. The stories are ‘The Proper Circumstances’, ‘The Mother Tongue’ and ‘A Breaking Wave’, all published in the posthumous collection One Thing Leading to Another (1984). Warner is shown to be deeply attuned to sound and its absence in her short fiction; these motifs are integrated with other aspects of setting and with character and narration. Both sound in the text and sound of the text are of semantic importance in her work. Warner’s presentation of silence as a source of power is remarkable, silence being usually configured as lack of agency. Warner’s deployment of silence is related to her status as a lesbian writer.
{"title":"‘J’ai mon silence’: The interrelations of sound, voice and silence in three short stories by Sylvia Townsend Warner1","authors":"D. Malcolm","doi":"10.1386/fict_00036_1","DOIUrl":"https://doi.org/10.1386/fict_00036_1","url":null,"abstract":"The interrelations of sound, voice and silence in three realist short stories by Sylvia Townsend Warner from the 1940s are discussed. The stories are ‘The Proper Circumstances’, ‘The Mother Tongue’ and ‘A Breaking Wave’, all published in the posthumous collection One Thing Leading to Another (1984). Warner is shown to be deeply attuned to sound and its absence in her short fiction; these motifs are integrated with other aspects of setting and with character and narration. Both sound in the text and sound of the text are of semantic importance in her work. Warner’s presentation of silence as a source of power is remarkable, silence being usually configured as lack of agency. Warner’s deployment of silence is related to her status as a lesbian writer.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45958735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The physical process of receiving and interpreting sound creates not just an auditory experience through vibrations registering within our bodies; sounds can also evoke feeling and conjure up mental images. This is especially true of acousmatic sounds, which Michel Chion describes as sounds that are heard while their source remains invisible, and such sounds are thus perfect vehicles for conveying one feeling in particular: terror. If one is not able to see what one can hear, the ensuing sense of terror is heightened. Through the use of sound, and indeed the deliberate absence of sound, M. R. James, I would like to argue, is able to concoct in his stories an atmosphere of malevolence, in which his ‘executors of unappeasable malice’ (as Michael Cox describes them) are often heard rather than seen. This emphasis on sound over image, and the manipulation of it, can be traced back to the fact that James was an oral storyteller before he was a writer of fiction, and that his tales were originally intended for a listening audience. A linguist with an ‘ear’ for language and an aptitude for mimetic brilliance, James deploys alien soundscapes and aural disturbance to create sound as a tangible element within rich sonic tapestries that feature unique aural signatures and instances of acoustic chaos. Drawing on the work of David Hendy on ‘the primalness of the auditory’, Leigh Schmidt on ‘sound corporeality’, and Jonathan Sterne on ‘acoustic culture’, this article demonstrates how James utilized auscultation (or the act of listening) to promulgate terror through auditory images as elusive shape-shifters.
{"title":"Aural disturbance in the stories of M. R. James","authors":"Tracy Hayes","doi":"10.1386/fict_00039_1","DOIUrl":"https://doi.org/10.1386/fict_00039_1","url":null,"abstract":"The physical process of receiving and interpreting sound creates not just an auditory experience through vibrations registering within our bodies; sounds can also evoke feeling and conjure up mental images. This is especially true of acousmatic sounds, which Michel Chion describes as sounds that are heard while their source remains invisible, and such sounds are thus perfect vehicles for conveying one feeling in particular: terror. If one is not able to see what one can hear, the ensuing sense of terror is heightened. Through the use of sound, and indeed the deliberate absence of sound, M. R. James, I would like to argue, is able to concoct in his stories an atmosphere of malevolence, in which his ‘executors of unappeasable malice’ (as Michael Cox describes them) are often heard rather than seen. This emphasis on sound over image, and the manipulation of it, can be traced back to the fact that James was an oral storyteller before he was a writer of fiction, and that his tales were originally intended for a listening audience. A linguist with an ‘ear’ for language and an aptitude for mimetic brilliance, James deploys alien soundscapes and aural disturbance to create sound as a tangible element within rich sonic tapestries that feature unique aural signatures and instances of acoustic chaos. Drawing on the work of David Hendy on ‘the primalness of the auditory’, Leigh Schmidt on ‘sound corporeality’, and Jonathan Sterne on ‘acoustic culture’, this article demonstrates how James utilized auscultation (or the act of listening) to promulgate terror through auditory images as elusive shape-shifters.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44431270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article traces the orientation of ‘An Epiphany Tale’ (published in 1983) by George Mackay Brown on establishing and maintaining the contact with the reader through the development of multiple aesthetic and aural techniques that are rooted in the tradition of modernism, but expanding and transposing it to a considerable degree. Brown adopts a quasi-philosophical way of narrating a story that anticipates the contemporary existential, phenomenological and aesthetic theoretical insights. The aim of the discussion is to present the text’s semiotic patterns and relate them to the phonetic devices that contribute to what Garrett Stewart called the principle of evocalization. This helps to determine how Brown functionalizes the evoked soundscapes (as theorized by Schafer) and connects them with philosophical and anagogic orientation in reception so as to exploit the story’s thematic focus on a series of epiphanies that reveal the underlying semiotic and aesthetic aspects of ordinary existence. The short story reveals a variety of direct and indirect techniques that create an opposition between what is suggested of reality and what is demonstrated on the level of artistic, literary communication.
{"title":"Soundscapes, evocalization and poetics of the everyday in ‘An Epiphany Tale’ by George Mackay Brown","authors":"Halszka Leleń","doi":"10.1386/fict_00041_1","DOIUrl":"https://doi.org/10.1386/fict_00041_1","url":null,"abstract":"The article traces the orientation of ‘An Epiphany Tale’ (published in 1983) by George Mackay Brown on establishing and maintaining the contact with the reader through the development of multiple aesthetic and aural techniques that are rooted in the tradition of modernism, but expanding and transposing it to a considerable degree. Brown adopts a quasi-philosophical way of narrating a story that anticipates the contemporary existential, phenomenological and aesthetic theoretical insights. The aim of the discussion is to present the text’s semiotic patterns and relate them to the phonetic devices that contribute to what Garrett Stewart called the principle of evocalization. This helps to determine how Brown functionalizes the evoked soundscapes (as theorized by Schafer) and connects them with philosophical and anagogic orientation in reception so as to exploit the story’s thematic focus on a series of epiphanies that reveal the underlying semiotic and aesthetic aspects of ordinary existence. The short story reveals a variety of direct and indirect techniques that create an opposition between what is suggested of reality and what is demonstrated on the level of artistic, literary communication.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42611439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Poe’s tales, though set in decaying, gloomy and silent places, are particularly sonorous. While several sound patterns are prototypical of the gothic (gusts of wind, shutting doors, absolute silence…), others denote Poe’s interest in uncanny sound perception and illusion. Acuteness of the senses is taken to an extreme, and the sounds of death take on a new dimension. Hearing the dead as well as the living, narrators are perpetually on the brink of insanity and draw their readers into a world rhythmed by sounding clocks, hissing pendulums and unstoppable heartbeats. Binary and ternary rhythms alternate, and it is ultimately in their composition that the tales show Poe’s mastery of rhythmic patterns and of their impact on the reading experience. Self-interruptions, refrains and other rhythmic strategies give the tales a dizzying quality, keeping the reader in a perpetual state of suspense.
{"title":"Gothic soundscapes and rhythm in Edgar Allan Poe’s short stories","authors":"Lucie Ratail","doi":"10.1386/fict_00040_1","DOIUrl":"https://doi.org/10.1386/fict_00040_1","url":null,"abstract":"Poe’s tales, though set in decaying, gloomy and silent places, are particularly sonorous. While several sound patterns are prototypical of the gothic (gusts of wind, shutting doors, absolute silence…), others denote Poe’s interest in uncanny sound perception and illusion. Acuteness of the senses is taken to an extreme, and the sounds of death take on a new dimension. Hearing the dead as well as the living, narrators are perpetually on the brink of insanity and draw their readers into a world rhythmed by sounding clocks, hissing pendulums and unstoppable heartbeats. Binary and ternary rhythms alternate, and it is ultimately in their composition that the tales show Poe’s mastery of rhythmic patterns and of their impact on the reading experience. Self-interruptions, refrains and other rhythmic strategies give the tales a dizzying quality, keeping the reader in a perpetual state of suspense.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48848753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Are the unnamed characters who write and respond to these post-it notes flatmates or lovers, friends or acquaintances? Is their relationship as fractious as this prose suggests, or does each note hold something deeper, a series of signs and indicators that gradually reveal affection between the two characters? The medium, somewhat outdated in our digital world, suggests fleeting exchanges, ships that pass in the night, all the while signalling shared space, shared responsibilities and shared lives. The implied story is as complex as the reader wants to make it, as the authors themselves use this brief epistolary form as a prompt for contemplating the mundanity of relationships, the emotional manoeuvring, assumed subtexts and back-stories of each and every moment or event. The authors are a novelist and a poet, writers each involved in their own relationships, colleagues interested in collaboration and new forms. Who is the third voice (or third and fourth voices) this dialogue has created? The story has led Lilwall and Loydell to writing the unexpected, responding to each other’s prose and shopping items in turn, surprising each other and themselves, before refining and editing the work together.
{"title":"‘Shopping List’","authors":"Amy Lilwall, Rupert Loydell","doi":"10.1386/fict_00017_7","DOIUrl":"https://doi.org/10.1386/fict_00017_7","url":null,"abstract":"Are the unnamed characters who write and respond to these post-it notes flatmates or lovers, friends or acquaintances? Is their relationship as fractious as this prose suggests, or does each note hold something deeper, a series of signs and indicators that gradually reveal affection between the two characters? The medium, somewhat outdated in our digital world, suggests fleeting exchanges, ships that pass in the night, all the while signalling shared space, shared responsibilities and shared lives. The implied story is as complex as the reader wants to make it, as the authors themselves use this brief epistolary form as a prompt for contemplating the mundanity of relationships, the emotional manoeuvring, assumed subtexts and back-stories of each and every moment or event. The authors are a novelist and a poet, writers each involved in their own relationships, colleagues interested in collaboration and new forms. Who is the third voice (or third and fourth voices) this dialogue has created? The story has led Lilwall and Loydell to writing the unexpected, responding to each other’s prose and shopping items in turn, surprising each other and themselves, before refining and editing the work together.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42341944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"A. Cox","doi":"10.1386/fict_00010_2","DOIUrl":"https://doi.org/10.1386/fict_00010_2","url":null,"abstract":"","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47864145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Self-sufficient and epiphanic, the analeptic short story is presented in this article as a separate type of narrative that exists within the larger novel. Distinct from the analepsis in general, such short stories can be read as autonomous in that, despite their brevity, they are self-contained and cohesive fictions, able to stand alone and still function as a whole. As this article demonstrates, analeptic short stories are revelatory and can serve to destabilize the larger narratives in which they are found. Through an analysis of violence and childhood trauma in novels such as A. M. Homes’s The End of Alice and its companion piece Appendix A, along with Thomas Harris’s Red Dragon, this article offers a discussion on the ways in which analeptic short stories are pivotal elements of their wider context, and come to eclipse the larger narrative through revelation and a concise exploration of the characters and events within. Thus, it is argued that the analeptic short story is a specific type of short fiction, one that raises intriguing theoretical questions surrounding the American short story.
{"title":"The short story and the bigger picture: Epiphanic analepses and violence in American literature","authors":"Joanna Wilson-Scott","doi":"10.1386/fict_00002_1","DOIUrl":"https://doi.org/10.1386/fict_00002_1","url":null,"abstract":"Self-sufficient and epiphanic, the analeptic short story is presented in this article as a separate type of narrative that exists within the larger novel. Distinct from the analepsis in general, such short stories can be read as autonomous in that, despite their brevity, they are self-contained\u0000 and cohesive fictions, able to stand alone and still function as a whole. As this article demonstrates, analeptic short stories are revelatory and can serve to destabilize the larger narratives in which they are found. Through an analysis of violence and childhood trauma in novels such as\u0000 A. M. Homes’s The End of Alice and its companion piece Appendix A, along with Thomas Harris’s Red Dragon, this article offers a discussion on the ways in which analeptic short stories are pivotal elements of their wider context, and come to eclipse the larger\u0000 narrative through revelation and a concise exploration of the characters and events within. Thus, it is argued that the analeptic short story is a specific type of short fiction, one that raises intriguing theoretical questions surrounding the American short story.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46289932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses American author Carson McCullers’ 1942 short story titled ‘Correspondence’, in order to consider how the unique form of the epistolary short story amplifies themes of alienation and absence. Drawing upon contemporary affect theory as well as a close reading of the story, I consider how the letters in the text can be understood as what Sara Ahmed describes as ‘happy objects’, as well as how the process of letter writing becomes exemplary of Lauren Berlant’s theorization of cruel optimism. Based on her own disappointment with letters and letter writing, McCullers’ short text problematizes the act of writing letters and demonstrates the complexities of epistolary short fiction.
{"title":"Happy objects and cruel optimism in Carson McCullers’ story ‘Correspondence’","authors":"E. Bell","doi":"10.1386/fict_00005_1","DOIUrl":"https://doi.org/10.1386/fict_00005_1","url":null,"abstract":"This article discusses American author Carson McCullers’ 1942 short story titled ‘Correspondence’, in order to consider how the unique form of the epistolary short story amplifies themes of alienation and absence. Drawing upon contemporary affect theory as well as\u0000 a close reading of the story, I consider how the letters in the text can be understood as what Sara Ahmed describes as ‘happy objects’, as well as how the process of letter writing becomes exemplary of Lauren Berlant’s theorization of cruel optimism. Based on her own disappointment\u0000 with letters and letter writing, McCullers’ short text problematizes the act of writing letters and demonstrates the complexities of epistolary short fiction.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48501409","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores what it means to listen to Chekhov and how this listening can provide a useful comparative framework for the study of time in short fiction. Since the tune of Chekhov’s stories lies partly in their strategic silences, we must attend as much to the unsaid, the musical rests, as to what is told. To theorize the meaningful relations that exist in and between a story’s silences and its words, I analyse two of Chekhov’s stories – ‘Easter Night’ and ‘The Bishop’ – with respect to two key terms: melodic setting and harmonic characterization. These terms refer to phenomena that run counter to our assumptions regarding character and setting by asserting that the movement we associate with the former and the stasis we associate with the latter are reductive. In music, movement and stasis are not always clear-cut terms; harmony and melody are interdependent and influence one another. Even in a symphonic form like the sonata, built around development, stasis plays a role; even in a song that dwells in the description of one mood or conflict, there is development and change. The language of music accommodates the possibility of several independent variables moving simultaneously through time, which, as Chudakov and Woolf notice of Chekhov’s work, is part of what makes even the shortest of his stories so profound.
{"title":"Chekhov’s fiddle: Towards a musical poetics of fiction","authors":"Alexander Creighton","doi":"10.1386/fict_00006_1","DOIUrl":"https://doi.org/10.1386/fict_00006_1","url":null,"abstract":"This article explores what it means to listen to Chekhov and how this listening can provide a useful comparative framework for the study of time in short fiction. Since the tune of Chekhov’s stories lies partly in their strategic silences, we must attend as much to the unsaid,\u0000 the musical rests, as to what is told. To theorize the meaningful relations that exist in and between a story’s silences and its words, I analyse two of Chekhov’s stories – ‘Easter Night’ and ‘The Bishop’ – with respect to two key terms: melodic\u0000 setting and harmonic characterization. These terms refer to phenomena that run counter to our assumptions regarding character and setting by asserting that the movement we associate with the former and the stasis we associate with the latter are reductive. In music, movement and stasis are\u0000 not always clear-cut terms; harmony and melody are interdependent and influence one another. Even in a symphonic form like the sonata, built around development, stasis plays a role; even in a song that dwells in the description of one mood or conflict, there is development and change. The\u0000 language of music accommodates the possibility of several independent variables moving simultaneously through time, which, as Chudakov and Woolf notice of Chekhov’s work, is part of what makes even the shortest of his stories so profound.","PeriodicalId":36146,"journal":{"name":"Short Fiction in Theory and Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46639548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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