World War I Short Fiction Criticism: Associated Power - Essay

Thomas Tulloss (essay date 1988)

(Short Story Criticism)

SOURCE: Tulloss, Thomas. “Et Ego in Arcadia: Death in ‘Resurrection,’ John Peale Bishop's World War One Fiction.” Focus on Robert Graves and His Contemporaries 1, no. 7 (1988): 18-23.

[In the following essay, Tulloss views John Peale Bishop's “Resurrection” as an anti-romantic, naturalistic perspective on the destruction of war and a part of the “post-World War re-evaluation of the optimism implicit in pastoral and romantic traditions in American literature as it had existed before the European conflict.”]

John Peale Bishop, whose literary reputation has settled comfortably within the middle rank of American writers published between the World Wars, was...

(The entire section is 2935 words.)

Vanessa A. Farr (essay date spring 1995)

(Short Story Criticism)

SOURCE: Farr, Vanessa A. “Keeping the Home Fires Burning: Dorothy Canfield and the Domestic Space of the Great War.” Focus on Robert Graves and His Contemporaries 2, no. 3 (spring 1995): 16-20.

[In the following essay, Farr argues that Dorothy Canfield Fisher's stories set during World War I “deserve a close analysis within the framework of the feminist theories of militancy that have emerged in the last few decades.”]

Dorothy Canfield, who had lived in France for periods as a child and spoke French fluently, returned to that country with her own small children during the Great War, where she worked with the war blind while her husband trained ambulance...

(The entire section is 4694 words.)

Julie Olin-Ammentorp (essay date autumn 1995)

(Short Story Criticism)

SOURCE: Olin-Ammentorp, Julie. “‘Not Precisely War Stories’: Edith Wharton's Short Fiction from the Great War.” Studies in American Fiction 23, no. 2 (autumn 1995): 153-72.

[In the following essay, Olin-Ammentorp traces Edith Wharton's reaction to World War I as viewed through her short stories.]

On June 28, 1915, Edith Wharton wrote to her publisher Charles Scribner regarding both her experiences in wartime France and her plans for writing in the near future. “I have been given such unexpected opportunities for seeing things at the front,” she reported, “that you might perhaps care to collect the articles (I suppose there will be five) in a small volume...

(The entire section is 8245 words.)

Milton A. Cohen (essay date fall 2000)

(Short Story Criticism)

SOURCE: Cohen, Milton A. “Soldiers' Voices in In Our Time: Hemingway's Ventriloquism.” The Hemingway Review 20, no. 1 (fall 2000): 22-9.

[In the following essay, Cohen identifies the universality of combat experience and the difficulty of adjustment after the war as unifying themes in Ernest Hemingway's short fiction collection In Our Time and contends that different voices in the various stories represent Hemingway's view of war.]

In Our Time echoes with the voices of soldiers—soldiers from different nations, ranks, battle theaters, even wars. Of the fourteen stories, sixteen chapters, and introduction (“On the Quai at Smyrna”), twelve...

(The entire section is 3363 words.)

Patrick J. Quinn (essay date 2001)

(Short Story Criticism)

SOURCE: Quinn, Patrick J. “The Enemy Within.” In The Conning of America: The Great War and American Popular Literature, pp. 101-31. Amsterdam: Rodopi, 2001.

[In the following essay, Quinn considers several American novels and short stories that functioned as propaganda to turn the United States against Germany and rally Americans to enter World War I.]

Part of the problem with propaganda attempts to generate American interest in the Allied side was that the bulk of the country, rightly, did not see the battles being fought in France and Belgium as particularly relevant to their daily existence The conception of a global village was still decades away. Admittedly,...

(The entire section is 12490 words.)