49 stories ranging over 120 years. Stories reflect life in Australia from the early days of hardship to the recognition of a multicultural society and the new agendas for women's, gay and lesbian, and Aboriginal writing.

The Stage 7 Biff, Chip and Kipper Stories provide humorous storylines to engage and motivate children. The popular characters and familiar settings are brought to life by Roderick Hunt and Alex Brychta. The stories are unchanged from the previous edition but the cover notes have been updated to support adults in sharing the story with the child.

The present volume is a highly comprehensive assessment of the postcolonial short story since the thirty-six contributions cover most geographical areas concerned. Another important feature is that it deals not only with exclusive practitioners of the genre (Mansfield, Munro), but also with well-known novelists (Achebe, Armah, Atwood, Carey, Rushdie), so that stimulating comparisons are suggested between shorter and longer works by the same authors. In addition, the volume is of interest for the study of aspects of orality (dialect, dance rhythms, circularity and trickster figure for instance) and of the more or less conflictual relationships between the individual (character or implied author) and the community. Furthermore, the marginalized status of women emerges as another major theme, both as regards the past for white women settlers, or the present for urbanized characters, primarily in Africa and India. The reader will also have the rare pleasure of discovering Janice Kulik Keefer's “Fox,” her version of what she calls in her commentary “displaced autobiography’” or “creative non-fiction.” Lastly, an extensive bibliography on the postcolonial short story opens up further possibilities for research.

Drawing on examples from across the globe and throughout history, Andrew Kahn explores the key characteristics of the short story. He shows how its rise was intertwined with international print culture, and discusses the essential techniques within this thriving literary genre, as well as the ways in which it is constantly innovated, even today.

Draws on scholarship from leading figures in the field and spans Australian literary history from colonial origins, indigenous and migrant literatures, as well as representations of Asia and the Pacific and the role of literary culture in modern Australian society.

In this first extended study of Australian short fiction, Bruce Bennett adopts Christina Stead's metaphor of an ocean of story to suggest the universality of story-telling and the marks it leaves for posterity. Bennett's study stresses the range and depth of the short prose narrative in Australia.

The Oxford Book of English Short Stories, edited by A. S. Byatt, who has published several collections of short stories, is the first anthology to take the English short story as its theme. The thirty-seven stories featured here are selected from the nineteenth and twentieth centuries, byauthors ranging from Dickens, Trollope, and Hardy to J. G. Ballard, Angela Carter, and Ian McEwan, though many draw ingeniously from the richness of earlier English literary writing. There are all sorts of threads of connection and contrast running through these stories. Their subjects vary from the sublime to the ridiculous, from the momentous to the trivial, from the grim to the farcical. There is English empiricism, English pragmatism, English starkness, English humour,English satire, English dandyism, English horror, and English whimsy. There are examples of social realism, from rural poverty to blitzed London; ghost stories and tales of the supernatural; surreal fantasy and science fiction. There are stories of sensibility, precisely delineated, from Hardy'sreluctant bride to the shocked heroine of Elizabeth Taylor's The Blush, from H. E. Bates's brilliant fusion of class, sex, death, and landscape, to D. H. Lawrence's exploration of a consciousness slowly detaching itself from its world. There are exuberant stories by Saki and Waugh, Wodehouse andFirbank, with a particularly English range from high irony to pure orchestrated farce. The very range and scope of the collection celebrates the eccentric differences and excellences of English short stories Some of A. S. Byatt's choices clearly take their place in the grand tradition of story-telling, while others are more unusual.Many break all the rules of unity of tone andnarrative, appearing to be one kind of story before unexpectedly turning into another. They pack together comedy and tragedy, farce and delicacy, elegance and the grotesque, with language as various as the subject-matter. As A. S. Byatt explains: 'My only criterion was that those stories I selectedshould be startling and satisfying, and if possible make the hairs on the neck prickle with excitement, aesthetic or narrative.'

Henry Lawson · Barbara Baynton ·Henry Handel Richardson · Katharine Susannah Prichard · Christina Stead ·Gavin Casey ·Vance Palmer · Alan Marshall · Marjorie Barnard ·Judah Waten · John Morrison · Peter Cowan · Hal Porter · Patrick White · Thelma Forshaw ·Dal Stivens · Peter Carey Murray Bail · Frank Moorhouse · T.A.G. Hungerford · Elizabeth Jolley · Michael Wilding · Olga Masters · Beverley Farmer · Fay Zwicky · Barry Hill · Gerald Murnane · Archie Weller · Thea Astley · Helen Garner · Lily Brett · Susan Hampton · Gail Jones In this bestselling collection the Australian short story is represented from its Bulletin beginnings to its vigorous revival in the late twentieth century.

The Booker Prize-winning author’s final short story collection “shows her at the top of her form…exquisite”—with an introduction by A.S. Byatt (The Guardian, UK). Penelope Fitzgerald was one of the United Kingdom’s most highly-regarded contemporary authors. Her last novel, ‘The Blue Flower’, was the book of its year, garnering extraordinary acclaim around the world. This posthumous collection of her short stories, originally published in anthologies and newspapers, shows Penelope Fitzgerald at her very best. From the tale of a young boy in 17th-century England who loses a precious keepsake and finds it frozen in a puddle of ice, to that of a group of buffoonish amateur Victorian painters on a trip to Brittany, these stories are characteristically wide ranging, enigmatic—and very funny. Each one is a miniature study of human behavior’s endless absurdity.