A short story is a piece of prosefiction that can be read in one sitting. Emerging from earlier oral storytelling traditions in the 17th century, the short story has grown to encompass a body of work so diverse as to defy easy characterization. At its most prototypical the short story features a small cast of named characters, and focuses on a self-contained incident with the intent of evoking a "single effect" or mood. In doing so, short stories make use of plot, resonance, and other dynamic components to a far greater degree than is typical of an anecdote, yet to a far lesser degree than a novel. While the short story is largely distinct from the novel, authors of both generally draw from a common pool of literary techniques.
Short stories have no set length. In terms of word count there is no official demarcation between an anecdote, a short story, and a novel. Rather, the form's parameters are given by the rhetorical and practical context in which a given story is produced and considered, so that what constitutes a short story may differ between genres, countries, eras, and commentators. Like the novel, the short story's predominant shape reflects the demands of the available markets for publication, and the evolution of the form seems closely tied to the evolution of the publishing industry and the submission guidelines of its constituent houses.
The short story has been considered both an apprenticeship form preceding more lengthy works, and a crafted form in its own right, collected together in books of similar length, price, and distribution to novels. Short story writers may define their works as part of the artistic and personal expression of the form. They may also attempt to resist categorization by genre and fixed formation.
Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846). Interpreting this standard nowadays is problematic, because the expected length of "one sitting" may now be briefer than it was in Poe's era. Other definitions place the maximum word count of the short story at anywhere from 1,000 to 4,000. In contemporary usage, the term short story most often refers to a work of fiction no shorter than 1,000 and no longer than 20,000 words. Stories of fewer than 1,000 words are sometimes referred to as "short short stories", or "flash fiction".
As a point of reference for the genre writer, the Science Fiction and Fantasy Writers of America define short story length in the Nebula Awards for science fiction submission guidelines as having a word count of fewer than 7,500 words.
Longer stories that cannot be called novels are sometimes considered "novellas" or novelettes and, like short stories, may be collected into the more marketable form of "collections", often containing previously unpublished stories. Sometimes, authors who do not have the time or money to write a novella or novel decide to write short stories instead, working out a deal with a popular website or magazine to publish them for profit.
As a concentrated form of narrative prose fiction, the short story has been theorised through the traditional elements of dramatic structure: exposition (the introduction of setting, situation and main characters), complication (the event that introduces the conflict), rising action, crisis (the decisive moment for the protagonist and his commitment to a course of action), climax (the point of highest interest in terms of the conflict and the point with the most action) and resolution (the point when the conflict is resolved). Because of their length, short stories may or may not follow this pattern. For example, modern short stories only occasionally have an exposition, more typically beginning in the middle of the action (in medias res). As with longer stories, plots of short stories also have a climax, crisis, or turning point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. As with any art form, the exact characteristics of a short story will vary by creator.
Short stories tend to be less complex than novels. Usually a short story focuses on one incident; has a single plot, a single setting, and a small number of characters; and covers a short period of time. The modern short story form emerged from oral story-telling traditions, the brief moralistic narratives of parables and fables, and the prose anecdote, all of these being forms of a swiftly sketched situation that quickly comes to its point.
With the rise of the realistic novel, the short story evolved in a parallel tradition, with some of its first distinctive examples in the tales of E. T. A. Hoffmann. The character of the form developed particularly with authors known for their short fiction, either by choice (they wrote nothing else) or by critical regard, which acknowledged the focus and craft required in the short form. An example is Jorge Luis Borges, who won American fame with "The Garden of Forking Paths", published in the August 1948 Ellery Queen's Mystery Magazine. Another example is O. Henry (author of "Gift of the Magi"), for whom the O. Henry Award is named. Other of his most popular, inventive and most often reprinted stories (among over 600) include: A Municipal Report, An Unfinished Story, A Blackjack Barginer, A Lickpenny Lover, Mammon and the Archer, Two Thanksgiving Day Gentlemen, The Last Leaf. American examples include: Jack London, Ambrose Bierce, F. Scott Fitzgerald, Ernest Hemingway, William Faulkner, Flannery O'Connor, John Cheever, and Raymond Carver. Science fiction short story with a special poetic touch was a genre developed with great popular success by Ray Bradbury. The genre of the short story was often neglected until the second half of the 19th century.
The evolution of printing technologies and periodical editions were among the factors contributing to the increasing importance of short story publications. Pioneering role in founding the rules of the genre in the Western canon include, among others, Rudyard Kipling (United Kingdom), Anton Chekhov (Russia), Guy de Maupassant (France), Manuel Gutiérrez Nájera (Mexico) and Rubén Darío (Nicaragua).
An important theoretical example for storytelling analysis is provided by Walter Benjamin in his illuminated essay The Storyteller where he argues about the decline of storytelling art and the incommunicability of experiences in the modern world. Oscar Wilde's essay The Decay of Lying and Henry James's The Art of Fiction are also partly related with this subject.
Short stories date back to oral storytelling traditions which originally produced epics such as Homer's Iliad and Odyssey. Oral narratives were often told in the form of rhyming or rhythmicverse, often including recurring sections or, in the case of Homer, Homeric epithets. Such stylistic devices often acted as mnemonics for easier recall, rendition and adaptation of the story. Short sections of verse might focus on individual narratives that could be told at one sitting. The overall arc of the tale would emerge only through the telling of multiple such sections.
The other ancient form of short story, the anecdote, was popular under the Roman Empire. Anecdotes functioned as a sort of parable, a brief realistic narrative that embodies a point. Many surviving Roman anecdotes were collected in the 13th or 14th century as the Gesta Romanorum. Anecdotes remained popular in Europe well into the 18th century, when the fictional anecdotal letters of Sir Roger de Coverley were published.
In Europe, the oral story-telling tradition began to develop into written stories in the early 14th century, most notably with Geoffrey Chaucer's Canterbury Tales and Giovanni Boccaccio's Decameron. Both of these books are composed of individual short stories (which range from farce or humorous anecdotes to well-crafted literary fictions) set within a larger narrative story (a frame story), although the frame-tale device was not adopted by all writers. At the end of the 16th century, some of the most popular short stories in Europe were the darkly tragic "novella" of Matteo Bandello (especially in their French translation).
The mid 17th century in France saw the development of a refined short novel, the "nouvelle", by such authors as Madame de Lafayette. In the 1690s, traditional fairy tales began to be published (one of the most famous collections was by Charles Perrault). The appearance of Antoine Galland's first modern translation of the Thousand and One Nights (or Arabian Nights) (from 1704; another translation appeared in 1710–12) would have an enormous influence on the 18th-century European short stories of Voltaire, Diderot and others.
There are early examples of short stories published separately between 1790 and 1810, but the first true collections of short stories appeared between 1810 and 1830 in several countries around the same period.
The first short stories in the United Kingdom were gothic tales like Richard Cumberland's "remarkable narrative" "The Poisoner of Montremos" (1791). Great novelists like Sir Walter Scott and Charles Dickens also wrote some short stories.
One of the earliest short stories in the United States was Charles Brockden Brown's "Somnambulism" from 1805. Washington Irving wrote mysterious tales including "Rip van Winkle" (1819) and "The Legend of Sleepy Hollow" (1820). Nathaniel Hawthorne published the first part of his Twice-Told Tales in 1837. Edgar Allan Poe wrote his tales of mystery and imagination between 1832 and 1849. Classic stories are "The Fall of the House of Usher", "The Tell-Tale Heart", "The Cask of Amontillado", "The Pit and the Pendulum", and the first detective story, "The Murders in the Rue Morgue". In "The Philosophy of Composition" (1846) Poe argued that a literary work should be short enough for a reader to finish in one sitting.
In Germany, the first collection of short stories was by Heinrich von Kleist in 1810 and 1811. The Brothers Grimm published their first volume of collected fairy tales in 1812. E. T. A. Hoffmann followed with his own original fantasy tales, of which "The Nutcracker and the Mouse King" (1816) is the most famous.
In France, Prosper Mérimée wrote Mateo Falcone in 1829.
In the latter half of the 19th century, the growth of print magazines and journals created a strong demand for short fiction of between 3,000 and 15,000 words.
In the United Kingdom, Thomas Hardy wrote dozens of short stories, including "The Three Strangers" (1883), "A Mere Interlude" (1885) and "Barbara of the House of Grebe" (1890). Rudyard Kipling published short story collections for grown-ups, e.g. Plain Tales from the Hills (1888), as well as for children, e.g. The Jungle Book (1894). In 1892 Arthur Conan Doyle brought the detective story to a new height with The Adventures of Sherlock Holmes. H. G. Wells wrote his first science fiction stories in the 1880s. One of his best known is "The Country of the Blind" (1904).
In the United States, Herman Melville published his story collection The Piazza Tales in 1856. "The Celebrated Jumping Frog of Calaveras County" was the title story of Mark Twain's first book one year later. In 1884, Brander Matthews, the first American professor of dramatic literature, published The Philosophy of the Short-Story. At that same year, Matthews was the first one to name the emerging genre "short story". Another theorist of narrativefiction was Henry James. James wrote a lot of short stories himself, including "The Real Thing" (1892), "Maud-Evelyn" and The Beast in the Jungle (1903). In the 1890s Kate Chopin published short stories in several magazines.
The most prolific French author of short stories was Guy de Maupassant. Stories like "Boule de Suif" ("Ball of Fat", 1880) and "L'Inutile Beauté" ("The Useless Beauty", 1890) are good examples of French realism.
In Russia, Ivan Turgenev gained recognition with his story collection A Sportsman's Sketches. Nikolai Leskov created his first short stories in the 1860s. Late in his life Fyodor Dostoyevski wrote "The Meek One" (1876) and "The Dream of a Ridiculous Man" (1877), two stories with great psychological and philosophical depth. Leo Tolstoy handled ethical questions in his short stories, for example in "Ivan the Fool" (1885), "How Much Land Does a Man Need?" (1886) and "Alyosha the Pot" (1905). The greatest specialist of the Russian short story, however, was Anton Chekhov. Classic examples of his realistic prose are "The Bet" (1889), "Ward No. 6" (1892), and "The Lady with the Dog" (1899). Maxim Gorky's best known short story is "Twenty-six Men and a Girl" (1899).
The prolific Indian author of short stories Munshi Premchand, pioneered the genre in the Hindustani language, writing a substantial body of short stories and novels in a style characterized by realism and an unsentimental and authentic introspection into the complexities of Indian society. Premchand's work, including his over 200 short stories (such as the story "Lottery") and his novel Godaan remain substantial works.
A master of the short story, the Urdu language writer Saadat Hasan Manto, is revered for his exceptional depth, irony and sardonic humour. The author of some 250 short stories, radio plays, essays, reminiscences and a novel, Manto is widely admired for his analyses of violence, bigotry, prejudice and the relationships between reason and unreason. Combining realism with surrealism and irony, Manto's works such as the celebrated short story Toba Tek Singh are aesthetic masterpieces which continue to give profound insight into the nature of human loss, violence and devastation.
In India, Rabindranath Tagore published short stories, on the lives of the poor and oppressed such as peasants, women and villagers under colonial misrule and exploitation.
In Poland, Bolesław Prus was the most important author of short stories. In 1888 he wrote "A Legend of Old Egypt".
Machado de Assis, one of the majors novelist from Brazil was the most important short story writer from his country at the time, under influences (among others) of Xavier de Maistre, Lawrence Sterne, Guy de Maupassant. In the end of the 19th century the writer João do Rio became popular by short stories about the bohemianism. Writing about the former slaves, and very ironical about nationalism, Lima Barreto died almost forgotten, but became very popular in the 20th century.
In Portuguese literature, the major names of the time are Almeida Garrett and the historian and novelist Alexandre Herculano. Still influential, Eça de Queiroz produced some short stories with a style influenced by Émile Zola, Balzac and Dickens.
In the United Kingdom, periodicals like The Strand Magazine and Story-Teller contributed to the popularity of the short story. Hector Hugh Munro (1870–1916), also known by his pen name of Saki, wrote satirical short stories about Edwardian England. W. Somerset Maugham, who wrote over a hundred short stories, was one of the most popular authors of his time. P. G. Wodehouse published his first collection of comical stories about valet Jeeves in 1917. Many detective stories were written by G. K. Chesterton, Agatha Christie and Dorothy L. Sayers. Short stories by Virginia Woolf are "Kew Gardens" (1919) and "Solid Objects," about a politician with mental problems. Graham Greene wrote his Twenty-One Stories between 1929 and 1954. A specialist of the short story was V. S. Pritchett, whose first collection appeared in 1932. Arthur C. Clarke published his first science fiction story, "Travel by Wire!" in 1937. Evelyn Waugh, Muriel Spark and L. P. Hartley were other popular British storytellers whose career started in this period.
In Ireland, James Joyce published his short story collection Dubliners in 1914. These stories, written in a more accessible style than his later novels, are based on careful observation of the inhabitants of his birth city.
In the first half of the 20th century, a number of high-profile American magazines such as The Atlantic Monthly, Harper's Magazine, The New Yorker, Scribner's, The Saturday Evening Post, Esquire, and The Bookman published short stories in each issue. The demand for quality short stories was so great and the money paid for such so well that F. Scott Fitzgerald repeatedly turned to short-story (as Matthews preferred to write it) writing to pay his numerous debts. His first collection Flappers and Philosophers appeared in book form in 1920. William Faulkner wrote over one hundred short stories. Go Down, Moses, a collection of seven stories, appeared in 1941. Ernest Hemingway's concise writing style was perfectly fit for shorter fiction. Stories like "A Clean, Well-Lighted Place" (1926), "Hills Like White Elephants" (1927) and "The Snows of Kilimanjaro" (1936) are only a few pages long, but carefully crafted. Dorothy Parker's bittersweet story "Big Blonde" debuted in 1929. A popular science fiction story is "Nightfall" by Isaac Asimov.
Katherine Mansfield from New Zealand wrote many short stories between 1912 and her death in 1923. "The Doll's House" (1922) treats the topic of social inequity.
Two important authors of short stories in the German language were Thomas Mann and Franz Kafka. In 1922 the latter wrote "A Hunger Artist", about a man who fasts for several days.
Ryūnosuke Akutagawa (1892–1927) is called the Father of the Japanese short story.
In Brazil, the most famous modern short story writer is Mário de Andrade. At the time, Paulistan writer António de Alcantâra Machado became very popular from his collection of short stories titled, Brás, Bexiga e Barra Funda (1928), about several Italian neighborhoods, but now he is mostly read in just São Paulo. Also, novelist Graciliano Ramos and poet Carlos Drummond de Andrade have significant short story works.
Portuguese writers like Mário de Sá-Carneiro, Florbela Espanca and Fernando Pessoa wrote well-known short stories, although their major genre was poetry.
The period following World War II saw a great flowering of literary short fiction in the United States. The New Yorker continued to publish the works of the form's leading mid-century practitioners, including Shirley Jackson, whose story, "The Lottery", published in 1948, elicited the strongest response in the magazine's history to that time. Other frequent contributors during the last 1940s included John Cheever, John Steinbeck, Jean Stafford, and Eudora Welty. J. D. Salinger's Nine Stories (1953) experimented with point of view and voice, while Flannery O'Connor's story "A Good Man is Hard to Find" (1955) reinvigorated the Southern Gothic style. Cultural and social identity played a considerable role in much of the short fiction of the 1960s. Philip Roth and Grace Paley cultivated distinctive Jewish-American voices. Tillie Olsen's "I Stand Here Ironing" (1961) adopted a consciously feminist perspective. James Baldwin's collection Going to Meet the Man (1965) told stories of African-American life. Frank O'Connor's The Lonely Voice, an exploration of the short story, appeared in 1963. Wallace Stegner's short stories are primarily set in the American West. Stephen King published many short stories in men's magazines in the 1960s and after. The 1970s saw the rise of the postmodern short story in the works of Donald Barthelme and John Barth. Traditionalists including John Updike and Joyce Carol Oates maintained significant influence on the form. Minimalism gained widespread influence in the 1980s, most notably in the work of Raymond Carver and Ann Beattie.
Canadian short story writers include Alice Munro, Mavis Gallant, and Lynn Coady.
In the United Kingdom, Daphne du Maurier wrote suspense stories like "The Birds" (1952) and "Don't Look Now" (1971). Roald Dahl was the master of the twist-in-the-tale. Short story collections like Lamb to the Slaughter (1953) and Kiss Kiss (1960) illustrate his dark humour.
In Italy, Italo Calvino published the short story collection Marcovaldo, about a poor man in a city, in 1963.
In Brazil, the short story became popular among female writers like Clarice Lispector, Lygia Fagundes Telles, Adélia Prado, who wrote about their society from a feminine viewpoint, although the genre has great male writers like Dalton Trevisan, Autran DouradoMoacyr Scliar and Carlos Heitor Cony too. Also, writing about poverty and the favelas, João Antonio became a well known writer. Other post-modern short fiction authors include writers Hilda Hilst and Caio Fernando Abreu. Detective literature was led by Rubem Fonseca. It is also necessary to mention João Guimarães Rosa, wrote short stories in the book Sagarana using a complex, experimental language based on tales of oral traditional.
Portuguese writers like Virgílo Ferreira, Fernando Goncalves Namora and Sophia de Mello Breyner Andresen are among the most influential short story writers from 20th-century Portuguese language literature. Manuel da Silva Ramos is one of the most well-known names of postmodernism in the country. Nobel Prize-winner José Saramago published few short stories, but became popular from his novels.
The Angolan writer José Luandino Vieira is one of the most well-known writers from his country and has several short stories. José Eduardo Agualusa is also increasingly read in Portuguese-speaking countries.
MozambicanMia Couto is a widely known writer of post modern prose, and he is read even in non-Portuguese speaking countries. Other Mozambican writers such as Suleiman Cassamo, Paulina Chiziane and Eduardo White are gaining popularity with Portuguese-speakers too.
The Argentine writer Jorge Luis Borges is one of the most famous writers of short stories in the Spanish language. "The Library of Babel" (1941) and "The Aleph" (1945) handle difficult subjects like infinity. Two of the most representative writers of the Magical realism genre are also widely known Argentinian short story writers: Adolfo Bioy Casares and Julio Cortázar.
The Uruguayan writer Juan Carlos Onetti is known as one of the most important magical realist writer from Latin America.
In Colombia, the Nobel prize laureate author Gabriel Garcia Marquez is the main novelist and short story writer, known by his magical realist stories and his defense of the Communist Party in his country.
The Peruvian writer Mario Vargas Llosa, also a Nobel prize winner, has significant short story works.
The EgyptianNobel Prize-winner Naguib Mafouz is the most well-known author from his country, but has only a few short stories.
Japanese world-known short story writers include Kenzaburō Ōe (Nobel prize winner of 1994), Yukio Mishima and Haruki Murakami.
Multi-awarded Philippine writer Peter Solis Nery is one of the most famous writers of short stories in Hiligaynon language. His stories "Lirio" (1998), "Candido" (2007), "Donato Bugtot" (2011), and "Si Padre Olan kag ang Dios" (2013) are all gold prize winners at the Palanca Awards of Philippine Literature.
- Jamie Krakover defined eshorts in The Writers' Lens:
" For those unfamiliar with eshorts, they are short stories ranging from 12-150 pages, usually linked to a series. They vary in price from free to $3.99 and are available in electronic format only. The stories told in eshorts are often told from a perspective other than the main character in a series or tell of a side event that is loosely linked to the overall story. They are a great way for readers to revisit their favorite stories and characters in a new light. Stories of this nature normally would require a collection before they could be printed but because of the emergence of ebooks and their pricing scheme, they are available almost as quickly as authors write them."
Alice Munro, "master of the contemporary short story" according to her citation for the 2013 Nobel Prize in Literature, said she hopes the award would bring readership for the short story in general.
Short stories have frequently been adapted for:
- Radio dramas, as on NBC Presents: Short Story (1951–52). A popular example of this is "The Hitch-Hiker", read by Orson Welles.
- Short films, often rewritten by other people, and even as feature-length films; such is the case of "Children of the Corn", "The Shawshank Redemption", "The Birds", "Brokeback Mountain", "Who Goes There?", "Duel", "A Sound of Thunder", "The Body", "Total Recall", "The Lawnmower Man", "Hearts in Atlantis", and "The Secret Life of Walter Mitty".
- Television specials, such as "12:01 PM" (1993 television movie), "Nightmare at 20,000 Feet" (October 11, 1963, on The Twilight Zone), "The Lottery", and "Button, Button" (on The Twilight Zone).
- ^Poe, Edgar Allan (1984). Edgar Allan Poe: Essays and Reviews. Library of America. pp. 569–77.
- ^Cuddon, J. A. (1999). The Penguin Dictionary of Literary Terms and Literary Theory (3rd ed.). London: Penguin. p. 864.
- ^Abrams, M. H. (1999). Glossary of Literary Terms (7th ed.). Orlando, FL: Harcourt Brace. pp. 286–287. ISBN 0-155-05452-X.
- ^Deirdre Fulton (2008-06-11). "Who reads short shorts?". thePhoneix.com. Archived from the original on 2009-08-21. Retrieved 2013-06-06.
- ^"Complete Nebula Awards Rules Including the Ray Bradbury and Andre Norton Awards (Revised & Updated)". sfwa.org. Retrieved 2017-06-27.
- ^""The Storyteller" Commentary by Leo Hall".
- ^Short Story in Jacob E. Safra e.a., The New Encyclopædia Britannica, 15th edition, Micropaedia volume 10, Chicago, 1998.
- ^Internet Book List :: Book Information: Oxford Book of Gothic Tales.
- ^"Poe's The Philosophy of Composition: a Study Guide". Cummingsstudyguides.net. Retrieved 2013-04-22.
- ^Krakover, Jamie (April 4, 2012). "The Eshort Phenomenon". The Writers' Lens.
- ^Munro (2013). "Telephone". Nobel Prize.
- Browns, Julie, ed. (1997). Ethnicity and the American Short Story. New York: Garland.
- Goyet, Florence (2014). The Classic Short Story, 1870-1925: Theory of a Genre. Cambridge U.K.: Open Book Publishers.
- Gelfant, Blanche; Lawrence Graver, eds. (2000). The Columbia Companion to the Twentieth-Century American Short Story. Columbia University Press.
- Hart, James; Phillip Leininger, eds. (1995). Oxford Companion to American Literature. Oxford University Press.
- Ibáñez, José R; José Francisco Fernández; Carmen M. Bretones, eds. (2007). , Contemporary Debates on the Short Story. Bern: Lang.
- Iftekharrudin, Farhat; Joseph Boyden; Joseph Longo; Mary Rohrberger, eds. (2003). Postmodern Approaches to the Short Story. Westport, CN: Praeger.
- Kennedy, Gerald J., ed. (2011). Modern American Short Story Sequences: Composite Fictions and Fictive Communities. Cambridge: Cambridge University Press.
- Lohafer, Susan (2003). Reading for Storyness: Preclosure Theory, Empirical Poetics, and Culture in the Short Story. Baltimore, MD: Johns Hopkins University Press.
- Magill, Frank, ed. (1997). Short Story Writers. Pasadena, California: Salem Press.
- Patea, Viorica, ed. (2012). Short Story Theories: A Twenty-First-Century Perspective. Amsterdam: Rodopi.
- Scofield, Martin, ed. (2006). The Cambridge Introduction to the American Short Story. Cambridge: Cambridge University Press.
- Watson, Noelle, ed. (1994). Reference Guide to Short Fiction. Detroit: St. James Press.
- Winther, Per; Jakob Lothe; Hans H. Skei, eds. (2004). The Art of Brevity: Excursions in Short Fiction Theory and Analysis. Columbia, SC: University of South Carolina Press.
Still often cited
- Eikhenbaum, Boris, "How Gogol's 'Overcoat' is Made" in Elizabeth Trahan (ed.) (1982). Gogol's "Overcoat" : An Anthology of Critical Essays,. Ann Arbor, MI: Ardis.
- Hanson, Clare (1985). Short Stories and Short Fictions, 1880-1980. New York: St. Martin's Press.
- LoCicero, Donald (1970). Novellentheorie: The Practicality of the Theoretical. (About the German theories of the Short Story) The Hague: Mouton.
- Lohafer, Susan; Jo Ellyn Clarey, eds. (1990). Short Story Theory at a Crossroads. Baton Rouge, LA: Louisiana State University Press.
- Mann, Susan Garland (1989). The Short Story Cycle: A Genre Companion and Reference Guide. New York: Greenwood Press.
- O'Connor, Frank (1963). The Lonely Voice: A Study of the Short Story. Cleveland, OH: World Publishing Company.
- O'Faoláin, Seán (1951). The short story. Cork: Mercier, 1948; New York, Devin-Adair.
- Rohrberger, Mary (1966). Hawthorne and the Modern Short Story: A Study in Genre. The Hague: Mouton.
“There’s always room for a story that can
transport people to another place.”
Let me distract you for a moment and tell you four short stories.
These are old stories – familiar stories. The people and the circumstances differ slightly for everyone who tells them, but the core lessons remain the same.
I hope the twist we’ve put on them here inspires you to think differently…
Story #1: All the Difference in The World
Every Sunday morning I take a light jog around a park near my home. There’s a lake located in one corner of the park. Each time I jog by this lake, I see the same elderly woman sitting at the water’s edge with a small metal cage sitting beside her.
This past Sunday my curiosity got the best of me, so I stopped jogging and walked over to her. As I got closer, I realized that the metal cage was in fact a small trap. There were three turtles, unharmed, slowly walking around the base of the trap. She had a fourth turtle in her lap that she was carefully scrubbing with a spongy brush.
“Hello,” I said. “I see you here every Sunday morning. If you don’t mind my nosiness, I’d love to know what you’re doing with these turtles.”
She smiled. “I’m cleaning off their shells,” she replied. “Anything on a turtle’s shell, like algae or scum, reduces the turtle’s ability to absorb heat and impedes its ability to swim. It can also corrode and weaken the shell over time.”
“Wow! That’s really nice of you!” I exclaimed.
She went on: “I spend a couple of hours each Sunday morning, relaxing by this lake and helping these little guys out. It’s my own strange way of making a difference.”
“But don’t most freshwater turtles live their whole lives with algae and scum hanging from their shells?” I asked.
“Yep, sadly, they do,” she replied.
I scratched my head. “Well then, don’t you think your time could be better spent? I mean, I think your efforts are kind and all, but there are fresh water turtles living in lakes all around the world. And 99% of these turtles don’t have kind people like you to help them clean off their shells. So, no offense… but how exactly are your localized efforts here truly making a difference?”
The woman giggled aloud. She then looked down at the turtle in her lap, scrubbed off the last piece of algae from its shell, and said, “Sweetie, if this little guy could talk, he’d tell you I just made all the difference in the world.”
The moral:You can change the world – maybe not all at once, but one person, one animal, and one good deed at a time. Wake up every morning and pretend like what you do makes a difference. It does. (Read 29 Gifts.)
Story #2: The Weight of the Glass
Once upon a time a psychology professor walked around on a stage while teaching stress management principles to an auditorium filled with students. As she raised a glass of water, everyone expected they’d be asked the typical “glass half empty or glass half full” question. Instead, with a smile on her face, the professor asked, “How heavy is this glass of water I’m holding?”
Students shouted out answers ranging from eight ounces to a couple pounds.
She replied, “From my perspective, the absolute weight of this glass doesn’t matter. It all depends on how long I hold it. If I hold it for a minute or two, it’s fairly light. If I hold it for an hour straight, its weight might make my arm ache a little. If I hold it for a day straight, my arm will likely cramp up and feel completely numb and paralyzed, forcing me to drop the glass to the floor. In each case, the weight of the glass doesn’t change, but the longer I hold it, the heavier it feels to me.”
As the class shook their heads in agreement, she continued, “Your stresses and worries in life are very much like this glass of water. Think about them for a while and nothing happens. Think about them a bit longer and you begin to ache a little. Think about them all day long, and you will feel completely numb and paralyzed – incapable of doing anything else until you drop them.”
The moral: It’s important to remember to let go of your stresses and worries. No matter what happens during the day, as early in the evening as you can, put all your burdens down. Don’t carry them through the night and into the next day with you. If you still feel the weight of yesterday’s stress, it’s a strong sign that it’s time to put the glass down. (Angel and I discuss this process of letting go in the Adversity and Self-Love chapters of 1,000 Little Things Happy, Successful People Do Differently.)
Story #3: Shark Bait
During a research experiment a marine biologist placed a shark into a large holding tank and then released several small bait fish into the tank.
As you would expect, the shark quickly swam around the tank, attacked and ate the smaller fish.
The marine biologist then inserted a strong piece of clear fiberglass into the tank, creating two separate partitions. She then put the shark on one side of the fiberglass and a new set of bait fish on the other.
Again, the shark quickly attacked. This time, however, the shark slammed into the fiberglass divider and bounced off. Undeterred, the shark kept repeating this behavior every few minutes to no avail. Meanwhile, the bait fish swam around unharmed in the second partition. Eventually, about an hour into the experiment, the shark gave up.
This experiment was repeated several dozen times over the next few weeks. Each time, the shark got less aggressive and made fewer attempts to attack the bait fish, until eventually the shark got tired of hitting the fiberglass divider and simply stopped attacking altogether.
The marine biologist then removed the fiberglass divider, but the shark didn’t attack. The shark was trained to believe a barrier existed between it and the bait fish, so the bait fish swam wherever they wished, free from harm.
The moral: Many of us, after experiencing setbacks and failures, emotionally give up and stop trying. Like the shark in the story, we believe that because we were unsuccessful in the past, we will always be unsuccessful. In other words, we continue to see a barrier in our heads, even when no ‘real’ barrier exists between where we are and where we want to go. (Read The Road Less Traveled.)
Story #4: Being and Breathing
One warm evening many years ago…
After spending nearly every waking minute with Angel for eight straight days, I knew that I had to tell her just one thing. So late at night, just before she fell asleep, I whispered it in her ear. She smiled – the kind of smile that makes me smile back –and she said, “When I’m seventy-five and I think about my life and what it was like to be young, I hope that I can remember this very moment.”
A few seconds later she closed her eyes and fell asleep. The room was peaceful – almost silent. All I could hear was the soft purr of her breathing. I stayed awake thinking about the time we’d spent together and all the choices in our lives that made this moment possible. And at some point, I realized that it didn’t matter what we’d done or where we’d gone. Nor did the future hold any significance.
All that mattered was the serenity of the moment.
Just being with her and breathing with her.
The moral: We must not allow the clock, the calendar, and external pressures to rule our lives and blind us to the fact that each individual moment of our lives is a beautiful mystery and a miracle – especially those moments we spend in the presence of a loved one.
How do you think differently today than you once did? What life experience or realization brought on a significant change in your way of thinking? Please leave a comment below and share your story with us.
Photo by: Hartwig HKD