Fiction 100: An Anthology of Short Fiction / Edition 12

Paperback (Print)
Rent
Rent from BN.com
$15.60
(Save 83%)
Est. Return Date: 12/21/2014
Buy Used
Buy Used from BN.com
$70.50
(Save 25%)
Item is in good condition but packaging may have signs of shelf wear/aging or torn packaging.
Condition: Used – Good details
Used and New from Other Sellers
Used and New from Other Sellers
from $4.86
Usually ships in 1-2 business days
(Save 94%)
Other sellers (Paperback)
  • All (22) from $4.86   
  • New (3) from $43.50   
  • Used (19) from $4.86   
Close
Sort by
Page 1 of 1
Showing All
Note: Marketplace items are not eligible for any BN.com coupons and promotions
$43.50
Seller since 2011

Feedback rating:

(33)

Condition:

New — never opened or used in original packaging.

Like New — packaging may have been opened. A "Like New" item is suitable to give as a gift.

Very Good — may have minor signs of wear on packaging but item works perfectly and has no damage.

Good — item is in good condition but packaging may have signs of shelf wear/aging or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Acceptable — item is in working order but may show signs of wear such as scratches or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Used — An item that has been opened and may show signs of wear. All specific defects should be noted in the Comments section associated with each item.

Refurbished — A used item that has been renewed or updated and verified to be in proper working condition. Not necessarily completed by the original manufacturer.

New
PAPERBACK New 0205650341 Your book ships the next business day. Examination copy.

Ships from: Cleveland, OH

Usually ships in 1-2 business days

  • Canadian
  • International
  • Standard, 48 States
  • Standard (AK, HI)
  • Express, 48 States
  • Express (AK, HI)
$43.50
Seller since 2014

Feedback rating:

(3)

Condition: New
PAPERBACK New 0205650341 Examination copy. Your book ships within 24 hours of ordering.

Ships from: Cleveland, OH

Usually ships in 1-2 business days

  • Canadian
  • International
  • Standard, 48 States
  • Standard (AK, HI)
  • Express, 48 States
  • Express (AK, HI)
$115.00
Seller since 2014

Feedback rating:

(186)

Condition: New
Brand new.

Ships from: acton, MA

Usually ships in 1-2 business days

  • Standard, 48 States
  • Standard (AK, HI)
Page 1 of 1
Showing All
Close
Sort by

Overview

  • Reference Modules contain Web Destinations and Net Search options that provide the opportunity to expand upon information presented in the text.
  • Study Guide Modules contain a variety of exercises and features designed to help students with self-study. These modules include:
    • —Essay questions
    • —Multiple choices
    • —A built-in e-mail routing option that gives students the ability to forward essay responses and graded quizzes to their instructors
  • Communication Modules that include tools such as Live Chat and Message Board to facilitate online collaboration and communication
  • A "Living timeline" for literature that gives students' perspectives on historical, political, and cultural information.

The COMPANION WEBSITE™ makes integrating the Internet into your course exciting and easy.

Read More Show Less

Product Details

  • ISBN-13: 9780205650347
  • Publisher: Prentice Hall
  • Publication date: 1/20/2009
  • Edition description: Older Edition
  • Edition number: 12
  • Pages: 1600
  • Product dimensions: 5.90 (w) x 8.90 (h) x 1.50 (d)

Read an Excerpt

PREFACE:

PREFACE

With this ninth edition Fiction 100 passes yet another milestone. The eighth edition celebrated the fact that the book had been in print for 25 years, a full quarter of a century, a fact that surprised no one more than it did the editor. With the ninth edition comes yet another realization: Fiction 100 has now been available to college students and their teachers in four decades: the 1970s, the 1980s, the 1990s, and the first decade of the new millennium. With that realization comes still another: that while the world has changed a great deal since 1974, the aims and structure of Fiction 100 on the whole have not. Then as now I have tried to produce a large book of representative-quality short fiction that could be used in a wide variety of course formats and to do so at a reasonable price.

Another thing that has not changed is the difficulty I have faced in trying to cull the increasingly rich world of short fiction to decide what selections to make. One would think that with a table of contents as large as Fiction 100's such decisions would be relatively easy. They are not. As I long ago discovered, the problem of choice is only multiplied by size. The larger the book, the greater, in fact, the need for principles of selection.

Those that govern Fiction 100 are easily explained. First of all, I have insisted that the stories included must not only have literary merit but must be interesting. Four decades of teaching the short story to college students has persuaded me that any story, if it is to "work" in the classroom, must engage the curiosity, imagination, and intelligence ofstudents and provide them with a reading experience they find pleasurable. In addition, I have tried to assemble a collection of stories, international in scope, that represents a wide variety of subject matter, theme, literary technique, and style, and that, at the same time, serves to illustrate the development of short fiction—its continuity, durability, and tradition—from its identifiable beginnings in the early years of the nineteenth century to the present. To the extent possible, I have also asked that the stories "speak to one another" to make possible classroom discussion having to do with comparison and contrast. Roughly a third of the anthology is reserved for older, well-established stories—the so-called classics. They are offered without apology; good stories, no matter how often anthologized, are a source of endless pleasure and discovery that no amount of rereading, classroom discussion, or critical analysis can ever exhaust. On the other hand, Fiction 100 tries to present a broad selection of newer and contemporary stories to suggest the direction in which short fiction is moving as one century gives way to the next.

The book's editorial apparatus remains unchanged. It has been kept to a minimum to make Fiction 100 as usable in as many different kinds of fiction courses as possible. There are, of course, the study questions that follow each story. But these are, by intent, neither complete nor comprehensive. Rather, they are designed to be suggestive, to help guide students in their own literary response, and to serve as a springboard for classroom discussion. In much the same way, the Biographical Notes, Short Story Handbook, and Chronological Table of Contents are intended to provide students with additional resources, tools, and information without getting in the way of their instructor's course format and design.

The most significant change over the four decades has been the book's contents. Of the 100 stories in the 1974 edition, only 34 remain. While the majority of these represent older, nineteenth-century classics, nearly half belong to the twentieth century, suggesting that our definition of the "classic" short story is an ever-expanding one. The other 95 stories—for there are 129 stories in the ninth edition of Fiction 100—reflect my own changing relationship with the genre and my response to the many good suggestions from reviewers, colleagues, and students, including my own most recent students in English 2305 at the University of Houston. Many of those students, I hasten to add, have long since become reviewers, colleagues, and friends—another legacy of these past four decades, and one that I value deeply. All of you have my thanks.

Thanks too go to Carrie Brandon, my editor at Prentice Hall, who, among her other virtues, has one that every author and editor deeply appreciates. She is always there when you need her. I need to also thank the enterprising Fred Courtright, who served as permissions editor during this revision cycle, and whose knowledge and expertise in dealing with the always intricate and time-consuming issue of clearing rights and permissions are simply remarkable. Thanks also go to Joe Barron of P. M. Gordon Associates, Inc., who skillfully guided this ninth edition of Fiction 100 through the various stages of the production process.

If a period crossing four decades—the considerable portion of an adult life-time—provides anything in the way of perspective and wisdom, it is this: that editing Fiction 100 through nine editions has been an extraordinary opportunity for which I will always be grateful. Each new edition has been a genuine labor of love.

James H. Pickering

Read More Show Less

Table of Contents

TABLE OF CONTENTS

Louisa May Alcott, “Contraband”

Sherman Alexie, “This Is What It Means to Say Phoenix, Arizona”

Sherwood Anderson, “The Egg”

Margaret Atwood, “Rape Fantasies”

Mary Hunter Austin, “The Basket Maker”

Mary Hunter Austin, “The Land”

James Baldwin, “Sonny’s Blues”

Toni Cade Bambara, “The Lesson”

Andrea Barrett, “The Littoral Zone”

John Barth, “Lost in the Funhouse”

Rick Bass, “The Hermit’s Story”

Ann Beattie, “Janus”

Saul Bellow, “Looking for Mr. Green”

Ambrose Bierce, “An Occurrence at Owl Creek Bridge”

Jorge Luis Borges, “The Garden of Forking Paths”

Elizabeth Bowen, “The Demon Lover”

Kay Boyle, “Astronomer’s Wife”

T. Coraghessan Boyle, “The Love of My Life”

Ray Bradbury, “August 2002: Night Meeting”

Albert Camus, “The Guest”

Raymond Carver, “Call If You Need Me”

Raymond Carver, “Cathedral”

Willa Cather, “Paul’s Case”

John Cheever, “The Country Husband”

Anton Chekhov, “The Darling”

Anton Chekhov, “The Lady with the Dog”

Kate Chopin, “The Storm”

Kate Chopin, “The Story of an Hour”

Sandra Cisneros, “Eleven”

Sandra Cisneros, “The House on Mango Street”

Samuel L. Clemens, “The Celebrated Jumping Frog of Calaveras County”

Grace Stone Coates, “Wild Plums”

Joseph Conrad, “Heart of Darkness”

Stephen Crane, “The Blue Hotel”

Stephen Crane, “The Bride Comes to Yellow Sky”

Stephen Dobyns, “Kansas”

E. L. Doctorow, “Wakefield”

Fedor Dostoevski, “The Grand Inquisitor”

Arthur Conan Doyle, “A Scandal in Bohemia”

Ralph Ellison, “King of the Bingo Game”

Louise Erdrich, “The Red Convertible”

William Faulkner, “Barn Burning”

William Faulkner, “A Rose for Emily”

F. Scott Fitzgerald, “Winter Dreams”

Mary Hallock Foote, “Pilgrims to Mecca”

Richard Ford, “Reunion”

E. M. Forster, “The Road from Colonus”

Mary Wilkins Freeman, “A New England Nun”

Gabriel Garcia Marquez, “A Very Old Man with Enormous Wings”

Charlotte Perkins Gilman, “If I Were a Man”

Charlotte Perkins Gilman, “The Yellow Wall-Paper”

Susan Glaspell, “A Jury of Her Peers”

Nickolai Gogol, “The Overcoat”

Nadine Gordimer, “A Beneficiary”

Tessa Hadley, “A Mouthful of Cut Glass”

Thomas Hardy, “The Three Strangers”

Bret Harte, “Tennessee’s Partner”

Nathaniel Hawthorne “My Kinsman, Major Molineux”

Nathaniel Hawthorne, “Young Goodman Brown”

Ernest Hemingway, “Hills Like White Elephants”

Pam Houston, “How to Talk to a Hunter”

Washington Irving, “The Legend of Sleepy Hollow”

Washington Irving, “Rip Van Winkle”

Shirley Jackson, “The Lottery”

W. W. Jacobs, “The Monkey’s Paw”

Henry James, “The Real Thing”

Gish Jen, “In the American Society”

Sarah Orne Jewett, “A White Heron”

Ha Jin, “Saboteur”

James Joyce, “Araby”

James Joyce, “The Dead”

Bel Kaufman, “Sunday in the Park”

Stephen King, “The Man in the Black Suit”

W. P. Kinsella, “Shoeless Joe Jackson Comes to Iowa”

Rudyard Kipling, “They”

William Kittredge, “We Are Not in This Together”

D.H. Lawrence, “The Rocking-Horse Winner”

Ursula K. Le Guin, “Horse Camp”

Doris Lessing, “Wine”

Jack London, “To Build a Fire”

Katherine Mansfield, “Her First Ball”

Katherine Mansfield, “Miss Brill”

Bobbie-Ann Mason, “Three-Wheeler”

Guy de Maupassant, “The Necklace”

Guy de Maupassant, “Rust”

Thomas McGuane, “Gallatin Canyon”

Maile Meloy, “Travis, B.”

Herman Melville, “Bartleby the Scrivener”

Herman Melville, “The Lightning-Rod Man”

Alice Munro, “Meneseteung”

Alice Munro, “Runaway”

H. H. Munro (“Saki”), “The Open Window”

H.H. Munro (“Saki”), “Sredni Vashtar”

Antonya Nelson, “Goodfellows”

Joyce Carol Oates, “Four Summers”

Joyce Carol Oates, “Where Are You Going? Where Have You Been?”

Tim O’Brien, “The Things They Carried”

Flannery O’Connor, “A Good Man Is Hard to Find”

Frank O’Connor, “The Guests of the Nation”

Tim Parks, “In Defiance of Club Rules”

Robert Phillips, “Surprise!”

Edgar Allan Poe, “The Cask of Amontillado”

Edgar Allan Poe, “The Fall of the House of Usher”

Katherine Anne Porter, “The Grave”

Annie Proulx, “The Half-Skinned Steer”

Annette Sanford, “Nobody Listens When I Talk”

George Saunders, “Bohemians”

Irwin Shaw, “The Girls in Their Summer Dresses”

Leslie Marmon Silko, “Yellow Woman”

Isaac Bashevis Singer, “Gimpel the Fool”

R. T. Smith, “Docent”

John Steinbeck, “The Chrysanthemums”

Robert Louis Stevenson, “Markheim”

Elizabeth Tallent, “No One’s a Mystery”

Donna Tartt, “The Ambush”

Paul Theroux, “Mr. Bones”

James Thurber, “The Catbird Seat”

Leo Tolstoy, “The Death of Ivan Ilych”

Ivan Turgenev, “The Country Doctor”

John Updike, “Here Come the Maples”

John Updike, “Separating”

Alice Walker, “To Hell with Dying”

Eudora Welty, “A Worn Path”

Dorothy West, “My Baby”

William Carlos Williams, “The Use of Force”

Tobias Wolff, “Powder”

Richard Wright, “The Man Who Was Almost a Man”

Patricia Zelver, “Love Letters”

Read More Show Less

Preface

PREFACE:

PREFACE

With this ninth edition Fiction 100 passes yet another milestone. The eighth edition celebrated the fact that the book had been in print for 25 years, a full quarter of a century, a fact that surprised no one more than it did the editor. With the ninth edition comes yet another realization: Fiction 100 has now been available to college students and their teachers in four decades: the 1970s, the 1980s, the 1990s, and the first decade of the new millennium. With that realization comes still another: that while the world has changed a great deal since 1974, the aims and structure of Fiction 100 on the whole have not. Then as now I have tried to produce a large book of representative-quality short fiction that could be used in a wide variety of course formats and to do so at a reasonable price.

Another thing that has not changed is the difficulty I have faced in trying to cull the increasingly rich world of short fiction to decide what selections to make. One would think that with a table of contents as large as Fiction 100's such decisions would be relatively easy. They are not. As I long ago discovered, the problem of choice is only multiplied by size. The larger the book, the greater, in fact, the need for principles of selection.

Those that govern Fiction 100 are easily explained. First of all, I have insisted that the stories included must not only have literary merit but must be interesting. Four decades of teaching the short story to college students has persuaded me that any story, if it is to "work" in the classroom, must engage the curiosity, imagination, and intelligenceofstudents and provide them with a reading experience they find pleasurable. In addition, I have tried to assemble a collection of stories, international in scope, that represents a wide variety of subject matter, theme, literary technique, and style, and that, at the same time, serves to illustrate the development of short fiction—its continuity, durability, and tradition—from its identifiable beginnings in the early years of the nineteenth century to the present. To the extent possible, I have also asked that the stories "speak to one another" to make possible classroom discussion having to do with comparison and contrast. Roughly a third of the anthology is reserved for older, well-established stories—the so-called classics. They are offered without apology; good stories, no matter how often anthologized, are a source of endless pleasure and discovery that no amount of rereading, classroom discussion, or critical analysis can ever exhaust. On the other hand, Fiction 100 tries to present a broad selection of newer and contemporary stories to suggest the direction in which short fiction is moving as one century gives way to the next.

The book's editorial apparatus remains unchanged. It has been kept to a minimum to make Fiction 100 as usable in as many different kinds of fiction courses as possible. There are, of course, the study questions that follow each story. But these are, by intent, neither complete nor comprehensive. Rather, they are designed to be suggestive, to help guide students in their own literary response, and to serve as a springboard for classroom discussion. In much the same way, the Biographical Notes, Short Story Handbook, and Chronological Table of Contents are intended to provide students with additional resources, tools, and information without getting in the way of their instructor's course format and design.

The most significant change over the four decades has been the book's contents. Of the 100 stories in the 1974 edition, only 34 remain. While the majority of these represent older, nineteenth-century classics, nearly half belong to the twentieth century, suggesting that our definition of the "classic" short story is an ever-expanding one. The other 95 stories—for there are 129 stories in the ninth edition of Fiction 100—reflect my own changing relationship with the genre and my response to the many good suggestions from reviewers, colleagues, and students, including my own most recent students in English 2305 at the University of Houston. Many of those students, I hasten to add, have long since become reviewers, colleagues, and friends—another legacy of these past four decades, and one that I value deeply. All of you have my thanks.

Thanks too go to Carrie Brandon, my editor at Prentice Hall, who, among her other virtues, has one that every author and editor deeply appreciates. She is always there when you need her. I need to also thank the enterprising Fred Courtright, who served as permissions editor during this revision cycle, and whose knowledge and expertise in dealing with the always intricate and time-consuming issue of clearing rights and permissions are simply remarkable. Thanks also go to Joe Barron of P. M. Gordon Associates, Inc., who skillfully guided this ninth edition of Fiction 100 through the various stages of the production process.

If a period crossing four decades—the considerable portion of an adult life-time—provides anything in the way of perspective and wisdom, it is this: that editing Fiction 100 through nine editions has been an extraordinary opportunity for which I will always be grateful. Each new edition has been a genuine labor of love.

James H. Pickering

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)