Fall 1969 • Vol. XXXI No. 4 The International Symposium on the Short Story, Part Three |

Spain

Since I first began to write, hardly in my girlhood, I have considered the short story one of the aptest means available to a narrator. The tale captures all the fragrance, intensity and capacity of mystery of poetry, with the clarity, the common language, capable of reaching all classes of readers, of the novel of classical incisiveness. For me, the short story, as such, must unite certain conditions—it must be brief, round and juicy as an orange. Unhappily, in my country oranges are cheap and stories are dear. That's to say—where one pays unprotestingly two pesetas more for a kilo of oranges, one cannot conceive of paying, or paying very much, for a story. Stories, as they are considered in this country, are "things for children"—tales told to children by old women. What of the story, its practitioner, in Spain? In common language, a short-story writer is a dabbler. At best, a dupe and a dreamer, and the genre, uncommercial. This is the opinion of publishers. For sho

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Japan

By Junzo Shono

Since I first began to write, hardly in my girlhood, I have considered the short story one of the aptest means available to a narrator. The tale captures all the […]

Italy

By Mario Picchi, translated by Adele Plotkin

Since I first began to write, hardly in my girlhood, I have considered the short story one of the aptest means available to a narrator. The tale captures all the […]

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