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 12 - O. Henry and Jack London
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
O. Henry
Two writers who particularly represent the growth of the popular short story at the beginning of the twentieth century are O. Henry and Jack London, the first capturing the public taste through cleverly plotted comic stories and the second through stories of adventure and travel. Born in 1862 in Greensboro, North Carolina, William Sydney Porter, who took ‘O. Henry’ as his nom-de-plume, began publication of his own humorous weekly magazine, The Rolling Stone, which ran for a year in 1894. In 1898 he was tried for and found guilty of embezzling public funds from his job at the First National Bank in Austin, Texas, sentenced to five years in prison, and released after three years for good behaviour. While in prison he wrote several stories which were published in national magazines. During the remaining twelve years of his life he published stories in a number of magazines (Dispatch in Pittsburgh, and Ainslee's and Sunday World in New York, among others), and in twelve books, including Cabbages and Kings (1904, his first book) and The Four Million (1908, a collection of twenty-five new York stories which brought him international fame and popularity).
O. Henry's popularity and his literary reputation have fluctuated considerably. By 1920 nearly five million copies of his books had been sold in the United States, and he was widely read in England and Europe. Nearly a million copies were sold in Russia between 1924 and 1927.
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- The Cambridge Introduction to the American Short Story , pp. 115 - 127Publisher: Cambridge University PressPrint publication year: 2006