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The Complete Stories of William Cullen Bryant Paperback – 4 Mar 2014

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Product details

  • Paperback: 288 pages
  • Publisher: Antoca Press (4 Mar. 2014)
  • Language: English
  • ISBN-10: 1611685699
  • ISBN-13: 978-1611685695
  • Product Dimensions: 14.5 x 1.8 x 24.5 cm
  • Amazon Bestsellers Rank: 3,242,134 in Books (See Top 100 in Books)

Product Description

About the Author

FRANK GADO, professor emeritus of American literature, has written on Charles Brockden Brown s Arthur Mervyn, James Kirke Paulding, Poe s paternity, and Sherwood Anderson. In addition to his books on Bryant, he is the author of The Passion of Ingmar Bergman. His chapter on the first third of the 19th century appears in the Cambridge History of American Poetry, to be published this year."

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Most Helpful Customer Reviews on (beta) 5.0 out of 5 stars 3 reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars Hidden jewels presented by a literary jeweler 14 Sept. 2014
By Martin Boles - Published on
Format: Paperback Verified Purchase
The book is worth it just for the insightful introduction by the editor Frank Gado, one of the great teachers of literature of our day. If you love history or love literature, and especially if you love both, this book is for you. Gado sets Bryant in the context of the iconic writers of the nascent American Republic.
1 of 1 people found the following review helpful
5.0 out of 5 stars And so we are all connected in the great Circle of Life 23 July 2014
By Frank Gado - Published on
Format: Paperback
City Journal
Books and Culture
Summer Shorts in a Wide Range of Styles
Poet and newspaperman William Cullen Bryant is finally recognized as a first-rate short-story writer.
11 July 2014

The Complete Stories of William Cullen Bryant, edited by Frank Gado, (University Press of New England, 327 pp., $27.95)

A high school in Queens is named for him. As if that were not sufficient guarantee of oblivion, only one of William Cullen Bryant’s poems has made its way into anthologies. Though “Thanatopsis,” a meditation on death, was much admired in its time (c. 1820), it is virtually unread today. For one thing, Bryant’s ponderous, quasi-Biblical rhetoric is out of step with modern sensibilities. For another, his central theme—“Earth, that nourished thee, shall claim/Thy growth, to be resolved to earth again” was appropriated and popularized by Mufasa in Disney’s The Lion King: “When we die, our bodies become the grass, and the antelope eat the grass. And so we are all connected in the great Circle of Life.”

Actually, Bryant (1794—1878) has far more to recommend him than his antiquated verse. He was born and educated in Massachusetts, but he made his career in Manhattan, where he flourished in literary circles; edited the New York Evening Post, founded by Alexander Hamilton; became one of the most articulate advocates for the “lungs of the city”—a place that would eventually be called Central Park; helped to found the Metropolitan Museum and New York Medical College; and was an early proponent of the Hudson River School of landscape painting.

Yet one of his greatest achievements has gone unrecognized by schools, universities, and even scholars of American literature. Bryant was the most inventive short-story writer between Washington Irving and Edgar Allan Poe. Now, after decades of neglect, those fictions have become available in a trade paperback, scrupulously edited and annotated by Frank Gado, professor emeritus of Union College in upstate New York.

Bryant has an extraordinarily wide range, not only for his own time but for any time. The collection begins with “A Pennsylvania Legend,” an adult fairy tale, complete with a seductive female oak and a hunchback who sheds his disability only to see it return when he succumbs to avarice. “Story of the Island of Cuba” charts the clash of imperialism and tribalism two generations before Joseph Conrad. In the end, remarks Gado, “there is the crowning irony in the Christian mission to destroy the three ‘savage’ Indians.” It culminates in “a double hanging . . . dismemberment, and public display of the severed parts, all by the island’s ‘civilized’ Christians.” Bryant was well aware that Cuba’s Arawak native population “had been slaughtered into extinction by a nation dedicated to the teachings of Jesus.”

The first-person “Glauber-Spa” assumes the voice of a rube—an impersonation much favored by Mark Twain, Artemus Ward, and other platform lecturers in post-bellum America. The owner of a spa, or spaw as he calls it, watches his guests amuse themselves by reading aloud from papers. “I thought it was as good a way of killing time as any, and better than strumming on the forte-piano, which was kept a-going from morning till night, till a child fell through the cover one day and smashed all the wire-works. I was plaguy glad of this, for I didn’t mind the fidells, and flutes, and tambyreens that they got to dance to half as bad as the nasty noise, to no tune at all, that they made with the piano. Luckily, there was nobody to mend it, and the poor thing stays smashed to this minute. I don’t believe it will fetch much.”

Between and around these narratives are tales of ghosts, dramas of morality, and comments on marriage, politics, and a form of American literature so new it doesn’t even have a name. But it soon will, when masters of the short story like Poe, Herman Melville, Stephen Crane, and Henry James take over the field. Ironically, that field was first cultivated by another master who had to wait almost two centuries for recognition.

1 of 1 people found the following review helpful
5.0 out of 5 stars Add Bryant to the Canon 8 April 2015
By Rare Bird - Published on
Format: Paperback Verified Purchase
Frank Gado's latest contribution to American literature scholarship is an effort to justify William Cullen Bryant's place in the development of the short story. The collection brings together stories written in the late 1820s and early 1830s when Bryant was trying to establish himself as a prose writer in New York City. Written under a variety of conditions, the stories vary in quality, but a number succeed in entertaining, moving, or informing the reader. Gado provides commentaries in which he discusses clearly and at length the biographical, cultural, and historical factors present in each story and analyzes what factors lead to the artistic success or failure of each. While all the stories contain valuable insights into the various themes and subjects important to Bryant and other post-revolutionary writers, the following titles proved most interesting to this reader in light of subjects they foreshadowed in later nineteenth century short story writing.
"A Border Tradition" recounts the conflicts that occur in cross cultural courtships of lovers from Dutch and English backgrounds along the New York/Massachusetts border. Language, morality, and customs all lead to conflict and ultimate resolution. "Story of the Island of Cuba" relates a Spanish plantation owner's account of a period of terror on the island when three Indians imported from Florida rebel against their captors and undertake pillage and mayhem. "The Whirlwind" is a first person account by a Baptist preacher of his childhood encounter with a tornado that killed his family and led to his call. "The Indian Spring" is a first person account of a man's nightmare in which he is haunted by the image of an Indian brave who represents those who were displaced by the European settlers. "Glauber-Spa" is an account of a farmer who relates in untutored English the catastrophic consequences of his wife and daughters' efforts with two local doctors to establish a resort at the family homestead. "The Marriage Blunder" recounts the hilarious consequences when a Louisiana priest ties the wedding knot of the wrong couples at a mass wedding. Finally, "Medfield" recounts the sorry life of a man of action who is precluded from acting by his dying wife's request to curb his temper.
These stories, as Gado indicates in his commentaries for each, can be read in conjunction with the works of later writers like Poe, Hawthorne, Melville, Twain, James, and Chopin. Thus, this book gives Bryant a more prominent place in American literary history. No longer does his reputation rest primarily on his poetry and journalism.
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