A tribute to the art of the short story and an anthology of some of today's most exciting writers, this 10th anniversary volume brings together one story from each of the 21 winners of the Flannery O'Connor Award for Short Fiction. This award was established to encourage young writers by bringing their work to the attention of readers and ...Read MoreA tribute to the art of the short story and an anthology of some of today's most exciting writers, this 10th anniversary volume brings together one story from each of the 21 winners of the Flannery O'Connor Award for Short Fiction. This award was established to encourage young writers by bringing their work to the attention of readers and reviewers. The first volume in the series was published in 1983, and the award has since become a significant proving ground for newcomers. The Flannery O'Connor Award is a showcase for the talent and promise that has brought about a resurgence in the short story, as well as a testimony to the vitality of the genre.Read Less
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Advance Excerpt. Fine in stapled wrappers. Contributors include Robert H. Abel, Gail Galloway Adams, Tony Ardizzone, Francois Camoin, Daniel Curley, Philip F. Deaver, Alfred DePew, Molly Giles, Carole L. Glickfeld, Mary Hood, Salvatore La Puma, T.M. McNally, Peter Meinke, Debra Monroe, Antonya Nelson, Susan Neville, Melissa Pritchard, Sandra Thompson, David Walton, Leigh Allison Wilson and Nancy Safris.
Publishers Weekly, 1992-04-20 Established in 1981, partially as a response to commercial publishing's apparent preference of the novel over the short story form, the Flannery O'Connor Award competition invites only collections of stories to be submitted for consideration. Thus far 21 practitioners of the genre have won the award: publication by the University of Georgia Press. This volume brings together one story by each of the past winners. Skillfully crafted, eclectic both in subject matter and narrative style, these tales by such emerging writers as Molly Giles, Salvatore La Puma, Tony Ardizzone and others testify to the durabilty of the genre. In the best of them, memory--whether tinged with loss or heightened by hope--enhances voice and confers the ring of truth. In ``Inside Dope,'' Gail Galloway Adams's protagonist remembers with painful clarity her brother-in-law Bisher, ``a type, if men don't recognize, at least the women will.'' A bicycle painted ``Peacock Blue'' in boyhood reminds Francois Camion's narrator of a time in his life when innocence was pushed aside for tragedy; Susan Neville's beautifully wrought ``Banquet'' eloquently mirrors the mind of a dying old woman as she observes and reminisces about her loved ones at a family gathering; wry good humor touched by pathos buoys the nostalgic reflection in Antonya Nelson's ``The Expendables,'' wherein Gypsies and Sicilians and weddings and funerals clash to resounding effect; and in an achingly poignant tale from Philip F. Deaver, ``Wilbur Gray Falls In Love With An Idea,'' the eponymous narrator, haunted by loss, battles depression and grief by running ``six miles a day, rain or shine.'' (June) (c) Copyright PWxyz, LLC. All rights reserved
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