The Red Badge of Courage and Selected Short Fiction (Barnes & Noble Classics)
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- New introductions commissioned from today's top writers and scholars
- Biographies of the authors
- Chronologies of contemporary historical, biographical, and cultural events
- Footnotes and endnotes
- Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
- Comments by other famous authors
- Study questions to challenge the reader's viewpoints and expectations
- Bibliographies for further reading
- Indices & Glossaries, when appropriate
All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.
Unbelievable as it may seem, Stephen Crane had never been a member of any army nor had taken part in any battle when he wrote The Red Badge of Courage. But upon its publication in 1895, when Crane was only twenty-four, Red Badge was heralded as a new kind of war novel, marked by astonishing insight into the true psychology of men under fire. Along with the seminal short stories included in this volume—“The Open Boat,” “The Veteran,” and “The Men in the Storm”—The Red Badge of Courage unleashed Crane’s deeply influential impressionistic style.
Richard Fusco has been an Assistant Professor of English at Saint Joseph’s University in Philadelphia since 1997. A specialist in nineteenth-century American literature and in short-story narrative theory, he has published on a variety of American, British, and Continental literary figures.
Mallarmé, Arthur Rimbaud, and Paul Verlaine would explore the power of and relationship between symbols, realizing in the process the ability of poetry to create complex new symbols of its own. Though most often considered a Romantic by critics, Emily Dickinson had certainly anticipated a few Symbolist conceptions in her poetry. Some of those who embraced her work when it first appeared during the 1890s had been better prepared to comprehend it because they had already read Mallarmé’s lavish
moblike and barbaric, but tuned in strange keys that can arouse the dullard and the stoic. It made a mad enthusiasm that, it seemed, would be incapable of checking itself before granite and brass. There was the delirium that encounters despair and death, and is heedless and blind to the odds. It is a temporary but sublime absence of selfishness. And because it was of this order was the reason, perhaps, why the youth wondered, afterward, what reasons he could have had for being there. Presently
there was an examination. A flurry of fast questions was in the air. One of the prisoners was nursing a superficial wound in the foot. He cuddled it, baby-wise, but he looked up from it often to curse with an astonishing utter abandon straight at the noses of his captors. He consigned them to red regions; he called upon the pestilential wrath of strange gods. And with it all he was singularly free from recognition of the finer points of the conduct of prisoners of war. It was as if a clumsy clod
TALE INTENDED TO BE AFTER THE FACT: BEING THE EXPERIENCE OF FOUR MEN FROM THE SUNK STEAMER COMMODORE I NONE OF THEM KNEW the color of the sky. Their eyes glanced level, and were fastened upon the waves that swept toward them. These waves were of the hue of slate, save for the tops, which were of foaming white, and all of the men knew the colors of the sea. The horizon narrowed and widened, and dipped and rose, and at all times its edge was jagged with waves that seemed thrust up in
Across the River and into the Trees (1950) came out of this experience. This novel, lambasted by most critics, chronicles a war-ravaged American colonel whose failing health mirrors Hemingway’s own physical decline. In more recent times, Tim O‘Brien’s memoir If I Die in a Combat Zone: Box Me Up and Ship Me Home (1973) takes war writing to an even more realistic level. (The title is the first two lines of a song soldiers sing during Army training; the second couplet is “Pin my medals to my