Book contents
- Frontmatter
- Contents
- Acknowledgements
- Chapter 1 Introduction
- Chapter 2 The short story as ironic myth: Washington Irving and William Austin
- Chapter 3 Nathaniel Hawthorne
- Chapter 4 Edgar Allan Poe
- Chapter 5 Herman Melville
- Chapter 6 New territories: Bret Harte and Mark Twain
- Chapter 7 Realism, the grotesque and impressionism: Hamlin Garland, Ambrose Bierce and Stephen Crane
- Chapter 8 Henry James
- Chapter 9 Rebecca Harding Davis, Sarah Orne Jewett and Mary Wilkins Freeman
- Chapter 10 Charlotte Perkins Gilman, Kate Chopin, Edith Wharton and Willa Cather
- Chapter 11 Growth, fragmentation, new aesthetics and new voices in the early twentieth century
- Chapter 12 O. Henry and Jack London
- Chapter 13 Sherwood Anderson
- Chapter 14 Ernest Hemingway
- Chapter 15 F. Scott Fitzgerald
- Chapter 16 William Faulkner
- Chapter 17 Katherine Anne Porter, Eudora Welty and Flannery O'Connor
- Chapter 18 Charles Chesnutt, Richard Wright, James Baldwin and the African American short story to 1965
- Chapter 19 Aspects of the American short story 1930–1980
- Chapter 20 Two traditions and the changing idea of the mainstream
- Chapter 21 The postmodern short story in America
- Chapter 22 Raymond Carver
- Chapter 23 Epilogue: the contemporary American short story
- Notes
- Guide to further reading
- Index
Chapter 6 - New territories: Bret Harte and Mark Twain
Published online by Cambridge University Press: 05 June 2012
- Frontmatter
- Contents
- Acknowledgements
- Chapter 1 Introduction
- Chapter 2 The short story as ironic myth: Washington Irving and William Austin
- Chapter 3 Nathaniel Hawthorne
- Chapter 4 Edgar Allan Poe
- Chapter 5 Herman Melville
- Chapter 6 New territories: Bret Harte and Mark Twain
- Chapter 7 Realism, the grotesque and impressionism: Hamlin Garland, Ambrose Bierce and Stephen Crane
- Chapter 8 Henry James
- Chapter 9 Rebecca Harding Davis, Sarah Orne Jewett and Mary Wilkins Freeman
- Chapter 10 Charlotte Perkins Gilman, Kate Chopin, Edith Wharton and Willa Cather
- Chapter 11 Growth, fragmentation, new aesthetics and new voices in the early twentieth century
- Chapter 12 O. Henry and Jack London
- Chapter 13 Sherwood Anderson
- Chapter 14 Ernest Hemingway
- Chapter 15 F. Scott Fitzgerald
- Chapter 16 William Faulkner
- Chapter 17 Katherine Anne Porter, Eudora Welty and Flannery O'Connor
- Chapter 18 Charles Chesnutt, Richard Wright, James Baldwin and the African American short story to 1965
- Chapter 19 Aspects of the American short story 1930–1980
- Chapter 20 Two traditions and the changing idea of the mainstream
- Chapter 21 The postmodern short story in America
- Chapter 22 Raymond Carver
- Chapter 23 Epilogue: the contemporary American short story
- Notes
- Guide to further reading
- Index
Summary
Bret Harte
Until the second half of the nineteenth century, and even beyond, the cultural identity of the United States was dominated by the East Coast. Hawthorne was part (albeit a detached part) of the Boston literary society which constituted the most powerful cultural grouping. Irving was a New York writer whose chosen literary territory was the Hudson valley, while Melville was born in New York City, settled for a time in Massachusetts and then moved again in 1863 to New York City, where he stayed for the rest of his life. Poe spent most of his early life in Richmond, Virginia, adopted something of the style and social aspirations of a Southern gentleman, and later lived in Philadelphia and New York City.
But from the middle decades of the century the West, hitherto mainly populated by Native Americans and immigrant Spanish colonialists, began to be opened up by Americans of English origin. In 1848 gold was discovered in California, and the gold-rush began that increased the non-Native population of California from around 14,000 to over 250,000 by 1852. In 1860, a young staff writer on the San Francisco newspaper the Golden Era, Francis Brett Hart, using his newly adopted nom de plume Bret Harte, published his first short story, ‘The Work on Red Mountain’ (later entitled ‘Mliss’). In 1864 he became a contributor and occasional editor of the weekly Californian, and in 1868 the founding editor of the Overland Monthly. In that year he published his most famous story.
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- The Cambridge Introduction to the American Short Story , pp. 53 - 64Publisher: Cambridge University PressPrint publication year: 2006
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