Ann Petry's Short Fiction Critical Essays

Subjects:

• Literature » American Literature
• Multicultural Studies » Black Studies

Reviews:

• Recommended. Lower-division undergraduates through faculty.
  —Choice December 2004
• Essayists from a wide variety of disciplines come together to offer important stories by Ann Petrie.
  —American Literature March 1 2005

Table of Contents:

• Acknowledgments
• Chronology
• Introduction
• Critical Essays
• A World Made Cunningly: A Closer Look at Ann Petry's Short Fiction by Gladys J. Washington
• Ann Petry and African Poetics: A Review of "Solo on the Drums" by Sheikh Umar Kamarah
• Folk Traditions in the Short Fiction of Ann Petry by Gladys J. Washington
• Artistic Discourse in Three Short Stories by Ann Petry by Nora Ruth Roberts
• Jazz/Blues Structure in Ann Petry's "Solo on the Drums" by Gayl Jones
• "Miss Muriel": Rewriting Innocence into Experience by Paul Wiebe
• "From a Thousand Different Points of View": The Multiple Masculinities of Ann Petry's "Miss Muriel" by Keith Clark
• Riot as Ritual: Ann Petry's "In Darkness and Confusion" by George R. Adams
• "Ain't No Room for Us Anywhere": Reading Ann Petry's "In Darkness and Confusion" as a Migration Narrative by Deidre Raynor
• Apartheid Among the Dead: Christian Laughter in Ann Petry's "The Bones of Louella Brown" by Gene Fendt
• The Narrator as Feminist Ally in Ann Petry's "The Bones of Louella Brown" by Amy Lee
• Taking the Cake: Ann Petry's "Has Anybody Seen Miss Dora Dean?" by Barbara Lewis
• "The Man Who Cried I Am": Reading Race, Class, and Gender in Ann Petry's "The Witness" by Carol E. Henderson
• Traumatic Reenactment and the Impossibility of African American Testimony in Ann Petry's "Like a Winding Sheet" and "The Witness" by Eve Tettenborn
• Bibliography
• Index
• About the Contributors