Artinian, Artine. Maupassant Criticism in France, 1880-1940. New York: Russell and Russell, 1941. Despite its title, this important book explores critical reactions to Maupassant’s works both in France and outside France. Artinian also includes thoughtful comments on Maupassant by some of the most important American and European writers of the 1930’s. An essential work for all critics interested in Maupassant. Contains a very thorough bibliography.
Fusco, Richard. Maupassant and the American Short Story: The Influence of Form at the Turn of the Century. University Park: Pennsylvania State University Press, 1994. Argues that Maupassant was the most important influence on American short- story writers in the late nineteenth and early twentieth centuries. Focuses on his effect on Kate Chopin, Ambrose Bierce, Henry James, and O. Henry. Arranges Maupassant’s stories into seven categories based on narrative structure.
Harris, Trevor A. Le V. Maupassant in the Hall of Mirrors: Ironies and Repetition in the Work of Guy de Maupassant. Houndmills, England: Macmillan, 1990. A critical evaluation of Maupassant’s use of irony and repetition.
Ignotus, Paul. The Paradox of Maupassant. London: University of London Press, 1966. In this fascinating but subjective interpretation of Maupassant’s genius, Ignotus believes that Maupassant was a paradoxical writer because he was obsessed with sex and was nevertheless a creative genius. At times, Ignotus’s arguments are not terribly convincing, but this book does discuss very well Maupassant’s ambivalent attitudes toward his literary mentor Gustave Flaubert.
Jobst, Jack W., and W. J. Williamson. “Hemingway and Maupassant: More Light on ‘The Light of the World.’” The Hemingway Review 13 (Spring, 1994): 52-61. A comparison between Hemingway’s “The Light of the World” and Maupassant’s “La Maison Tellier.” Discusses how both stories focus on a single prostitute rising above stereotypes.
Lloyd, Christopher, and Robert Lethbridge, eds. Maupassant: Conteur et romancer. Durham, England: University of Durham, 1994. A collection of papers, in both French and English, commemorating the centenary of Maupassant’s death in 1993. Papers in English on Maupassant’s short stories include an essay on “Mademoiselle Fifi,” David Bryant’s paper “Maupassant and the Writing Hand,” and Angela Moger’s essay “Kissing and Telling: Narrative Crimes in Maupassant.”
Steegmuller, Francis. Maupassant: A Lion in the Path. New York: Random House, 1949. In this extremely well- documented biography of Maupassant, Steegmuller describes very well both the nature of Flaubert’s influence on Maupassant and the contacts of Maupassant with such major writers as Émile Zola, Ivan Turgenev, and Henry James.
Sullivan, Edward. Maupassant the Novelist. Princeton, N.J.: Princeton University Press, 1945. This volume is a very thoughtful analysis of Maupassant’s novels. Sullivan argues persuasively that Maupassant’s novels do deserve as much critical attention as his more famous short stories have received over the years. Contains a solid bibliography.
Sullivan, Edward. Maupassant: The Short Stories. Great Neck, N.Y.: Barron’s, 1962. A pamphlet-length introduction to some of Maupassant’s basic themes and story types. Particularly helpful are Sullivan’s attempts to place Maupassant’s short stories within their proper generic tradition.
Wallace, Albert H. Guy de Maupassant. New York: Twayne, 1973. Wallace presents an excellent analysis of recurring themes in Maupassant’s major works. He discusses with much subtlety Maupassant’s representations of war and madness. This well-annotated book is an essential introduction to the thematic study of Maupassant’s major works.