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1.How do you define modernist literature and how does it relate to one of the readings this week? 2.How do you define dystopian fiction and how does it relate to one of the readings this week? 3.How do you relate our society to the dystopian author's view of what would come of the 21st century? 4.Dystopian and modernist authors often portrayed a bleak future for humanity. Do you think these concerns are relevant today? Why or Why not? Your initial post should name the specific work(s) and use quotes or lines from the week’s readings. Be sure to acknowledge the source. Reading is: The Story of an Hour" by Kate Chopin, "Araby" by James Joyce, "A Hunger Artist" by Franz Kafka, "The Lottery" by Shirley Jackson. I'll send the stories,if you don't or can't find them after accepting your bid. Thank you .

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Introduction to the Short Story “A story is a way to say something that can’t be said any other way, and it takes every word in the story to say what the meaning is.” —Flannery O’Connor, American writer 3 © VideoBlocks Learning Objectives After reading this chapter, you should be able to do the following: • Describe early forms of storytelling and their cultural contexts. • Identify and differentiate features of the short story, and analyze their use in particular stories. • Analyze the themes and concepts in "Country Lovers." • Successfully complete academic assignments that involve writing about and analyzing short stories. How Stories Began Chapter 3 From the time we are very young, we see the world and understand our lives through stories. We learn from them long before we can explain what a story is. Research shows that young children can identify which is the story when presented with an unfamiliar five-minute narrative about a boy with magical powers and a five-minute presentation written humorously to describe how to play a children’s game (McAdams, 1996). The recognizable pattern of a story is as old as human existence; we have always been storytellers. 3.1 How Stories Began Your environment and personal experiences influence your response to stories. Whether you are aware of it or not, the lens through which you envision a story is filtered by insights you have gained from family traditions, religious beliefs, and critical life issues. Thus, interpretations of a story vary based on the reader’s age, breadth of experience, and emotional connection. Likewise, interpretations differ from culture to culture. For example, stories that once grew out of particular political controversies continue to be told long after the original political context has been for- gotten. The familiar nursery rhyme “Rock-a-bye Baby” is a classic example. In late 17th-century England, when there was a struggle for political power between Catholics and Protestants, King James II, who had converted to Catholicism, came to power. The “Rock-a-bye Baby” narrative is thought to reflect the rumor that the son born to him and the queen was not their child—but a boy hidden and secretly exchanged, giving them a Catholic heir to the throne—until, at some point (“when the bough breaks”) the truth would be known. The Oxford Book of Nursery Rhymes provides extensive background information about the stories that became known as nursery rhymes with the publication of John Newbery’s book Mother Goose’s Melody in mid-18th-century England. The earliest stories in every culture are its myths, anonymous stories through which primitive people sought to explain the world around them, including the mysteries of divinity, creation, truth, and death. Literature often retells myths, using them as literary patterns. Because Greek and Roman myths are the ones most closely related to our culture, their patterns turn up often in other literatur.

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