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"The Short Happy Life of Francis Macomber", 2008.
An analysis of Ernest Hemingway's short story "The Short Happy Life of Francis Macomber" .
1,914 words (approx. 7.7 pages), 8 sources, MLA, $ 61.95
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Abstract
This paper relates that the theme in Ernest Hemingway's short story, "The Short Happy Life of Francis Macomber", is that it is better to live a short and happy life with authenticity than to live a long and unhappy life without authenticity. More specifically, the paper looks at how, the character of Macomber does not live a happy life until he proves himself. The paper further explains that Macomber begins his life innocent and spoiled in a protected society, then becomes awakened to reality in the dangers of Africa, and ends self-fulfilled by achieving authenticity and happiness in a fatal world.
From the Paper
"In stage three of his initiation, Macomber achieves authenticity and happiness in a fatal world. He panics while shooting a large male, but the very fear that makes him run away from danger, teaches him, in less than twenty-four hours, how to face a charging buffalo with all the bravery of a seasoned hunter. When Macomber finds out that the buffalo is still alive, "for the first time in his life he really felt wholly without fear" for which "instead of fear he had a feeling of definite elation" (24). Ben Stoltzfus suggests that in choosing to face this challenge Macomber "asserts a new identity and, in putting cowardice behind him, he defines an authentic self". Macomber is no longer afraid; in fact he is eager to kill the buffalo. Hemingway describes Macomber's change as a "wild unreasonable happiness" which feels "like a dam bursting inside himself" (25). "
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"The Short Happy Life", 2005.
A look at the argument that Francis Macomber was not intentionally killed by his wife, Margaret Macomber, in the short story, "The Short Happy Life", by Ernest Hemingway.
889 words (approx. 3.6 pages), 0 sources, MLA, $ 31.95
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Abstract
This paper discusses how, in the short story "The Short Happy Life" by Ernest Hemingway, it becomes evident that Margaret Macomber did not intentionally kill Francis Macomber. It contends that, although it may seem that it was a conscious decision on Mrs. Macomber's part to shoot at her husband, the facts and situations presented by Ernest Hemingway in his writing prove otherwise.
From the Paper
" 'You know I don't think I'd ever be afraid of anything again,' Macomber said to Wilson. 'Something happened in my after we first saw the buff and started after him. Like a dam bursting. It was pure excitement.' " (Page 32). Unfortunately, this sudden confidence gain was not enough to save Francis Macomber from death. While on safari in Africa with his beautiful wife, Margaret, and their guide, Wilson, Francis makes a fool out of himself in front of his wife by running away from a lion instead of shooting it. Margaret Macomber takes his cowardliness very offensively, especially when it is her husband that is showing it. Margot even goes so far as to sleep with Wilson because she is so upset with Francis. However, all of this does not prove that she killed her husband on purpose. Francis has a seemingly successful buffalo hunt that proves to his wife that he is not a coward, which was enough reason in itself for Margot to not kill her husband on purpose. Ernest Hemingway, author of "The Short Happy Life", specifically states that Mrs. Macomber shot at the buffalo, which just happened to be very close to her husband's head. This fact, among other reasons, is evidence that Margaret Macomber did not intentionally shoot and kill her husband."
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Raymond Carver's "Short Cuts", 2005.
Analysis of the characters and theme in the collection of short stories in Carver's "Short Cuts".
1,474 words (approx. 5.9 pages), 2 sources, MLA, $ 48.95
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Abstract
This paper describes and analyzes the characters, plot, themes, and style of writing in select stories from Raymond Carver's "Short Cuts". The paper also describes director Robert Altman's adaptation of the stories in his film version, "Short Cuts," and explains Altman's interpretation of Carver's message is brought to its logical conclusion.
From the Paper
"The stories from the Raymond Carver collection Short Cuts frequently deal with the most elemental problems in human relationships. He chooses to examine people at their most personal and intimate moments. Oftentimes his stories expose the mental and emotional rifts that occur between people that should be able to communicate freely and openly, usually married couples. Many characters in Carver's work live in a state of isolation, despite the fact that they are physically in the presence of family and friends. They live their lives in mental and emotional seclusion; unable to articulate their thoughts and feelings to the people they are supposed to be closest to. His work reflects the isolation and longing for understanding that people everywhere feel intermittently throughout their lives."
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"Miss Marple: The Complete Short Stories", 2006.
A review of the Agatha Christie collection of short stories "Miss Marple: The Complete Short Stories".
750 words (approx. 3.0 pages), 0 sources, $ 26.95
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Abstract
This paper reviews and positively critiques Agatha Christie's "Miss Marple", focusing on the character of Miss Marple. The paper demonstrates how, despite being a quiet octogenarian who loves knitting, Miss Marple has the mind of a natural sleuth. After citing several examples from the stories to demonstrate this thesis, the paper concludes that the mysteries are fun, quaint and picturesque, which also inspire a love of the heroine and prove to the reader that crime need not be bloody to be interesting.
From the Paper
"This is important because most of the twenty mysteries in The Complete Short Stories revolve around very ordinary settings. The first short stories began at the Tuesday Club, a social club formed by Miss Marple and her fellow old ladies her a small, English country town. The club was originally founded purely for the pleasures of social gatherings-but soon this club's purpose becomes a place of discussion of a variety of mysteries that prey upon the minds and the members of the club."
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The Short Story as Genre, 2006.
A paper looking at whether short stories can be categorized as a genre.
4,006 words (approx. 16.0 pages), 8 sources, MLA, $ 108.95
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Abstract
This paper discusses the various definitions of short stories that have been put forth over time by authors and experts in the field of literature and considers whether these definitions adequately prove that the short story can be considered a genre. The paper discusses the features of a short story that these authors and experts describe but concludes that, after all is said and done, there is no definitive feature of a short story that puts it in a genre by itself.
From the Paper
"A standard definition would allow readers to distinguish the short-story genre from a multiplicity of other genres. Additionally, the definition would enable readers to recognize similarities between genres: tragedy, the essay, the sonnet, but also verse narratives, so-called natural narratives, myths, jokes, anecdotes, or news stories, novels, short novels, annals, long stories, scientific reports, and plot summaries. Still, no such definition seems to exist."
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Short Stories as Character Studies., 2002.
A look at the three short stories by Chinua Achebe and Jorge Luis Borges and the role of their characters.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
In this paper, three short stories are analyzed for character development. Referring to a short story by Chinua Achebe and Jorge Luis Borges, the author of this essay discusses a thesis statement. This thesis statement asserts that short story development depends on the psychological of the main characters of the three stories selected for this analysis.
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Realism in the Short Story, 2005.
An assessment of the view that the brevity and compactness of the short story form makes it more inclined to be at odds with the conventions of realism than the novel.
3,158 words (approx. 12.6 pages), 16 sources, MLA, $ 91.95
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Abstract
This paper discusses the way in which the short story as a literary genre has developed, with specific reference to the works of Chekhov, Mansfield, Hemingway and Carver. It refers this development back to the treatment of realism by these authors, examining how this differs from realism in the novel. It examines the devices of the above authors in order to portray a sense of reality that only the short story is capable of doing, through the very compactness of its form.
From the Paper
"By exploring the relationship between the subjective absent and the objective present, Chekhov achieved an indistinct reality that did not specify an ideology, yet represented a suggested reality. Hahn states thus: '[Chekhov] saw it as literature's task to depict 'truth, unconditional and honest' - the truth of life itself; but as he conceived that truth, there were no literary models for him to follow.' The Chekhovian short story is governed by a seemingly insubstantial middle ground, comprised of a uniting tone rather than plot; yet, the implied realism arises from the interplay between the tangible and intangible, and between competing temporal spaces within a compact unit."
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