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Additional info for Teaching the Short Story
Like other miniature fictions of notable writers, it had been approached as part of a collection, in this case In Our Time, a collection exploiting the ‘modernist aesthetic of fragmentation and juxtaposition’ (Strychacz, 1996: 60). Other approaches have grouped this 371 word story with ‘A Very Short Short Story’ and ‘Soldier’s Home’, under the uniting theme of the disorientation of the post-war world. (Strychacz, 1996; Smith, 1989). ‘The Revolutionist’ gives an account of an unnamed and seemingly rootless character wandering through Europe in the years following the First World War and the Soviet Revolution: In 1919 he was traveling on the railroads in Italy, carrying a square of oilcloth from the headquarters of the party written in indelible pencil and saying here was a comrade who had suffered very much under the Whites in Budapest and requesting comrades to aid him in any way.
A. K. and Christian Matthiessen. An Introduction to Functional Grammar. London: Edward Arnold. 2004. Hemingway, Ernest. In Our Time. New York: Scribner, 2003. Hurley, Ursula. ‘Teaching the Changing Story’, Writing in Education, Issue 43, 2007. 57–61. Hurley, Ursula and Paola Trimarco. ‘Less is More: Completing Narratives in Miniature Fictions’, 21: Journal of Contemporary and Innovative Fiction, Issue 1, 2008. htm. Leebron, Fred. ‘Water’, in Flash Fiction: 72 Very Short Stories, eds James Thomas, Denise Thomas and Tom Hazuka.
20 Teaching the Short Story The godmother is presented to the reader as ‘stately’, wearing a proper cap, owning silver and good china. It is suggested that she would want her goddaughter to appear as properly raised. By the end of the story, Babette has achieved this propriety when she makes a pretty and ‘dainty’ display of the figs on the good porcelain plate and carries it in without dancing about. It is a gently humorous account of the way the concept of time seems different to the young than it does to the older generations.