Short Stories for English Courses — Reading Notes

A Preface That Sets the Terms

Mikels opens by questioning why children's reading should be confined to 'older literary classics.' She does not dismiss those classics but advocates for adding stories 'characteristic of to-day.' The preface explicitly links the short story's form to 'our varied, hurried, efficient American life,' invoking the business lunch, dictagraph, and automobile. This contextualization primes readers to view each story as both a literary artifact and a reflection of its era. The editor's voice is direct and persuasive, positioning the anthology as a practical response to a perceived gap in education.

Vernacular Voice in the Twain Excerpt

The excerpt from Mark Twain's 'The Jumping Frog' showcases a dense, colloquial narration that contrasts sharply with the preface's formal tone. The unnamed storyteller describes Smiley's bull-pup, Andrew Jackson, with a mix of admiration and deadpan humor: the dog would 'grab that other dog jest by the j'int of his hind leg and freeze to it.' The passage relies on hyperbole and precise dialect—'thish-yer Smiley,' 'cal'lated to educate him'—to build character. The frog Dan'l Webster, trained to catch flies, is presented with mock-seriousness. This excerpt exemplifies the anthology's inclusion of regional vernacular and comic tall-tale tradition.

Editorial Structure and Story Selection

The table of contents reveals a deliberate range: from Henry van Dyke's sentimental 'The First Christmas-Tree' to O. Henry's ironic 'The Ransom of Red Chief,' from Poe's Gothic 'The Gold Bug' to Wharton's psychological 'The Triumph of Night.' Mikels includes authors known for local color (Harris, Stuart, Page, Cable), humor (Riley, Twain), and realism (Galsworthy, Freeman). The preface states the book does not attempt to select 'the greatest stories' but to supply 'interesting reading belonging to the student's own time.' This curatorial stance invites readers to compare styles and themes across the collection.

Reading the Excerpts as a First-Time Student

A first-time reader encountering the preface and the Twain excerpt might note the tension between Mikels' earnest educational mission and the irreverent, playful voice of the story. The preface emphasizes discrimination and efficiency; the story luxuriates in digressive, rhythmic speech. This juxtaposition suggests the anthology values both instruction and entertainment. The reader is encouraged to consider how each story's form—its use of dialect, pacing, point of view—serves its effect. The excerpts do not reveal plot resolutions, so the reader must infer from tone and detail what kind of story is unfolding.

As you read through the collection, attend to how each story's opening establishes its voice and setting, and how the editor's choices in arrangement create implicit conversations between authors. The preface's emphasis on 'present life' invites you to consider what aspects of early twentieth-century American culture these stories capture or critique. Let the excerpts guide your expectations without foreclosing the surprises each complete story holds.

I keep thinking about how that anthology’s preface almost whispers to you—letting the stories settle before they speak—and it reminded me of something quieter in Nerve enough — Background and Themes, where the courage isn’t loud but just appears between lines, like a friend who holds your hand without saying why. It lingered that way.