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Share via Email 'Aristocrats? The same ugly bodies and physical uncleanliness, the same toothless old age and disgusting death, as with market women. In it he jotted down snatches of conversation he had overheard, anecdotes, aphorisms, interesting names and embryonic ideas for short stories.
This entry about aristocrats and market women belongs to the last category. The more one has read of Chekhov the more one can envisage the short story that might have grown from this bleak comparison. The point is well made and as true today as it was in 19th-century Russia - death is the great leveller - but more interestingly, these 20 words can lead us towards an initial way of understanding the short story as opposed to its larger sibling, the novel.
I would argue that True ambitions the bet short story by anton chekov essay could write a short story inspired by Chekhov's words but they wouldn't be sufficient for a novel.
William Faulkner regarded a short story as harder to write than a novel. Some writers rarely tackle it, or else, in a full career, write just half a dozen. Others seem perfectly at home with the form and then let it drop.
And then there are those for whom the novel appears the challenge. Yet many of the greatest short-story writers have steered clear of the long form, by and large: My own case is perhaps typical: I have written eight novels but I cannot stop writing short stories - something about the short form lures me back again and again.
What draws a writer to the short story?
It's important to remember that the story as we know it is a comparatively recent phenomenon. The arrival of mass-market magazine publication and a new generation of literate middle-class readers in the mid- to lateth century saw a boom in the short story in the US and Europe that lasted maybe years.
Many writers were initially drawn to the form as a way of making money, particularly in America: Nathaniel Hawthorne, Herman Melville and Edgar Allen Poe all subsidised their less well-remunerated novel-writing careers by writing stories.
Even John Updike, in the s, reckoned he could support his wife and young family by the sale of five or six stories a year to the New Yorker. While magazines such as the New Yorker, Esquire and Playboy pay handsomely, more than any British equivalent, no one today could replicate Updike's achievement.
The popularity of the short story - indeed its very availability - has, more so than in the case of the novel, always been somewhat at the mercy of commercial considerations. When I published my first collection of stories, On the Yankee Station, inmany British publishers routinely brought out short-story collections.
Moreover, there was a small but stable marketplace where a story could be sold. A short-story writer could place his or her work in all manner of outlets. As a young writer I started writing short stories because at the time it seemed logical: All this talk of money and strategy masks the tenacious appeal of the form.
In the end writers write short stories because a different set of mental gears is engaged.
Melville wrote short stories as he laboured with Moby-Dick, saying, "My only desire for their 'success' as it is called springs from my pocket and not my heart. Something occurs in the writing - and reading - of a short story that is on another level from the writing and reading of a novel. The basic issue, it seems to me, is one of compression versus expansion.
To go back to the remark I made apropos Chekhov's little memento mori about aristocrats and market women: The essence of almost every short story, by contrast, is one of distillation, of reduction.
It's not a simple question of length, either: We are talking about a different category of prose fiction altogether. A common analogy is to see the novel as an orchestra and the short story as a string quartet. But the analogy strikes me as false because it is all about size, and this leads us in the wrong direction.
The music produced by two violins, a viola and a cello cannot ever sound anything like the music produced by dozens of instruments, but a paragraph or a page from a short story is indistinguishable from a paragraph or a page from a novel.
The short story draws on exactly the same resources as does the novel - language, plot, character and style. None of the literary tools that novelists require to write their novels is denied the short-story writer. A more pertinent comparison - to try to pin down the essence of the two forms - is poetry: Let us say that the short story is prose fiction's lyric poem, contrasted with the novel as its epic.
There are many definitions of the short story. Pritchett defined it as "something glimpsed from the corner of an eye, in passing". You take a point in time and develop it from there; there is no room for development backwards.Anton Pavlovich Chekhov - Biography and Works Anton Pavlovich Chekhov was born in the small seaport of Taganrog, southern Russia to the son of a grocer.
Chekhov's grandfather was a serf, who had bought his own freedom and that of his three sons in Download-Theses Mercredi 10 juin best phrases about happiness essay essay on discipline in your life essay favorite thing bachendri pal essay writing quotes on love vs hate essay the bet anton chekhov short story analysis essay high school leadership essay short essay for school magazine rimantadine synthesis essay fromholzer research paperMy ambition in life essay ias essay.
Short Story: "The Bet" by Anton P.
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Animal conservation research paper anna coninx dissertation the bet anton chekhov essay anton chekhov the bet essay review. In the story "The Bet" by Anton Chekov, a lawyer agrees to a bet to be imprisoned by a banker for 15 years for a chance to receive 2 millions.
He does this to show the banker that life imprisonment is better than capital punishment.