Frank R. Stockton's A Chosen Few opens with a preface that frames the collection as the result of a 'literary civil-service examination'—a characteristically wry self-assessment. The stories gathered here, published between 1882 and 1895, share a distinctive narrative voice: one that presents extraordinary events with the calm, measured tone of a report. In 'Negative Gravity,' the narrator describes a walk 'along a hard, smooth highway' before scaling a four-foot wall, only to encounter a phenomenon that defies physics. Stockton's prose never strains for effect; the fantastic is delivered with the same matter-of-fact clarity as the mundane.

The Art of the Deadpan Premise

Stockton's genius lies in his ability to treat outlandish concepts with the gravity of a scientific paper. In 'Negative Gravity,' the narrator's wife acquires the power to become weightless, yet the story's tension derives not from the miracle itself but from the practical inconveniences it causes. The author's preface reveals that this story was 'composed in Switzerland when the author was temporarily confined to the house in full view of unreachable Alps'—a biographical detail that underscores the playful origin of the idea. Similarly, 'The Remarkable Wreck of the “Thomas Hyke”' was born from a desire to invent 'some sort of shipwreck which had never yet been made the subject of a story.' Stockton's method is to take a single, absurd premise and follow its logical consequences with relentless precision, never winking at the reader.

Dialogue as a Tool of Character

Stockton's dialogue is spare but telling. In 'His Wife's Deceased Sister,' the conversational exchanges reveal unspoken tensions without explicit commentary. The author's preface notes that this story was 'suggested by an editorial disposition to compare all the author's work with one previous production'—a meta-commentary that echoes the story's own concern with comparison and expectation. The dialogue often carries the weight of psychological revelation, as characters speak around their true feelings. In 'The Lady, or the Tiger?,' the princess's internal conflict is rendered through indirect discourse: 'she had thought of nothing, night or day, but this great event.' Stockton's characters rarely declare their emotions; instead, their words and actions imply a complex interior life.

Recurring Motifs: Walls, Doors, and Choices

Physical barriers recur throughout the collection. In 'Negative Gravity,' the narrator and his wife 'easily scaled a wall about four feet high' to enter pasture-land. In 'The Lady, or the Tiger?,' the arena features 'twin doors—those fateful portals, so terrible in their similarity.' These thresholds are not merely scenic; they represent moments of decision and uncertainty. The princess knows 'the secret of the doors,' yet her knowledge only deepens the story's famous ambiguity. Stockton's walls and doors are never just obstacles—they are devices that force characters (and readers) to confront the limits of their knowledge. The author's preface acknowledges that 'The Lady, or the Tiger?' was written in the hope of receiving 'the cheerful coöperation of some of his readers in a satisfactory solution,' a hope that was met with 'a great deal of scolding.'

The Authorial Voice: Precision and Restraint

Stockton's prose is notable for its economy and clarity. Descriptions are functional yet vivid: the princess's lover is 'tall, beautiful, fair,' and the crowd responds with 'a low hum of admiration and anxiety.' The narrator of 'Negative Gravity' notes the 'hard, smooth highway' and 'light fences of reed or cane' with the same detached observation he applies to the story's central marvel. This restraint extends to the handling of emotion. In 'The Lady, or the Tiger?,' the princess's hatred for the lady behind the door is conveyed through a series of measured clauses: 'the girl was lovely, but she had dared to raise her eyes to the loved one of the princess.' Stockton trusts his readers to infer the intensity of feeling from the accumulation of detail, never resorting to melodrama.

Readers approaching A Chosen Few will find a collection that rewards attention to narrative craft. Stockton's stories are not driven by plot twists alone; they are exercises in tone, structure, and the management of expectation. The author's preface offers a rare glimpse into his creative process, revealing the specific circumstances and provocations that gave rise to each tale. To read these stories is to watch a master of the short form at work—one who understood that the most fantastic premises require the most disciplined execution.