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    <title>Journal of the Short Story in English</title>
    <link>http://journals.openedition.org/jsse</link>
    <description>Journal of the Short Story in English. Revue semestrielle fondée en 1983. Editée par les Presses universitaires d'Angers sous l'égide d'un comité de rédaction franco-américain</description>        
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        <rdf:li resource="http://journals.openedition.org/jsse/4808" />
        <rdf:li resource="http://journals.openedition.org/jsse/4775" />
        <rdf:li resource="http://journals.openedition.org/jsse/4794" />
        <rdf:li resource="http://journals.openedition.org/jsse/4762" />
        <rdf:li resource="http://journals.openedition.org/jsse/4881" />
        <rdf:li resource="http://journals.openedition.org/jsse/4868" />
        <rdf:li resource="http://journals.openedition.org/jsse/4859" />
        <rdf:li resource="http://journals.openedition.org/jsse/4857" />
        <rdf:li resource="http://journals.openedition.org/jsse/4848" />
        <rdf:li resource="http://journals.openedition.org/jsse/4797" />
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  <item rdf:about="http://journals.openedition.org/jsse/4808">
    <title>Disavowal and “The Depth of a Metaphor”: Problematic Waters in Zadie Smith’s “The Lazy River”</title>
    <description><![CDATA[
      <p class="resume">This article analyses Zadie Smith’s short story “The Lazy River” from a blue humanities perspective, focusing on three metaphors, all of them to do with water: the agricultural greenhouses of Southern Spain, the Mediterranean, and the eponymous pool with an artificial current. Drawing on Astrida Neimanis, the article reads them as manifestations of “anthropocene water” and as “aqueous imaginaries” that offer different answers to two questions inspired by Jamie Linton, namely “what <em>have </em>people made of water?” and “<em>what</em> <em>potential</em> do they realise?”—meaning in what way is the significance of water “saturated with ideas, meanings, values”? All three tropes feature cyclical movements that, in one way or another, interlink the tropes: the water cycle and, connected to it, the plastic cycle; the connections between “green,” “blue” and “grey” water; the interference with the thermohaline circulation and the global ocean conveyor belt. At the same time, Smith’s narrative technique creates cyc...</p>]]></description> 
    <dc:creator>Sylvia Mieszkowski</dc:creator>
    <link>http://journals.openedition.org/jsse/4808</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4775">
    <title>“They took the boat farther out to sea”: Seamanship and Agency in “The Open Boat”</title>
    <description><![CDATA[
      <p class="resume">Stephen Crane’s “The Open Boat” narrates the 30-hour ordeal of four men at sea on a dinghy after the shipwreck of the steamer <em>Commodore</em>. Three men survive, but the oiler drowns. Unlike many of Crane’s determined fictions, where social or historical factors defeat the characters, the story’s protagonist, the “correspondent” (the author’s fictional persona), is empowered by his experience on the open boat which enables him to acquire essential skills through the discovery of traditional seafaring. This contribution focuses on the oft-neglected vision of the shark and uses the lens of blue humanities to explore the different interactions between human beings, man-made objects, and the sea, hence the concept of “<em>sea-man-ship</em>.” It purports to show that, in this tale of survival, <em>praxis</em> and <em>theoria</em> (contemplation), are essential activities. <em>Theoria</em> enables the protagonist to experience an ethical/aesthetic epiphany, recapture a capacity for wonder, and acquire a decentered, nonanthropocen...</p>]]></description> 
    <dc:creator>Guillaume Tanguy</dc:creator>
    <link>http://journals.openedition.org/jsse/4775</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4794">
    <title>W. S. Merwin’s Fabled Waters</title>
    <description><![CDATA[
      <p class="resume">In his two collections of short fiction, <em>The Miner’s Pale Children</em> (1970) and <em>Houses and Travellers</em> (1977), later reissued together by Copper Canyon Press under the title <em>The Book of Fables</em> (2007), W. S. Merwin gives agency and power to water. Linking the efficiency of the condensed format to the contents, Merwin’s stories question the boundaries commonly established between water in nature and water in the human or other bodies, but also between water and other elements, revisiting the categories that have informed the Western grasp of the natural world. The stories offer a rephrasing of an ancient philosophy through the use of animism and metaphors gone literal. Without giving a voice to nature directly, but letting the latter signify its mystery to our limited human understanding, they emphasize the interdependency of interlinked fates in the biosphere, with respect for the water of life in the whole of nature, in and of itself.</p>]]></description> 
    <dc:creator>Françoise Palleau-Papin</dc:creator>
    <link>http://journals.openedition.org/jsse/4794</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4762">
    <title>Foreword</title>
    <description><![CDATA[
      <p class="texte"><em>JSSE</em> 85 is a very rich double issue. It features a special section edited by Bénédicte Meillon and Frédérique Spill on “Blue Short Stories.” We would like to thank the guest editors for bringing together a wide variety of scholarly contributions on the emerging field of Blue Humanities and highlighting the interplay between literature and the environment. These contributions explore the works of classic authors, such as Stephen Crane, as well as contemporary writers, including Zadie Smith and Anne Carson. The general section of this issue also has a thematic focus, as it includes a series of articles about Nathaniel Hawthorne’s tales, selected and introduced by Isabelle Boof-Vermesse and Hélène Cottet. The section ends with an essay by Jennifer Murray on Canadian writer Barbara Gowdy’s gothic story “Sylvie” that calls to mind classic works by Hawthorne and Charlotte Perkins Gilman. Both sections echo each other by focusing on liminal states and spaces, and analyzing techniques of om...</p>]]></description> 
    <dc:creator>Gérald Préher</dc:creator> 
    <dc:creator>Colette Colligan</dc:creator>
    <link>http://journals.openedition.org/jsse/4762</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4881">
    <title>The Siamese Self in Barbara Gowdy’s “Sylvie”</title>
    <description><![CDATA[
      <p class="resume">Barbara Gowdy, one of the lesser-studied Canadian writers of short stories, is the author of <em>We So Seldom Look on Love </em>(1997). This collection highlights figures of the grotesque, where transgression, indetermination, and excess are modalities that allow her to explore the complexities of being human. In “Sylvie,” the eponymous main character is doubled through the Siamese twin attached to her abdomen in the form of two small, hanging legs: her sister ‘Sue.’ This image of the self, doubled specifically at the level of the pelvis, allows for the exploration of excess as it figures in the Lacanian perspective on female sexuality. Following Copjec, a Lacanian critic who asserts that a woman “lives herself—enjoys her body—as if it were not her own but another’s, as if she were the double of another,” this contribution means to demonstrates that Sue functions as a libidinal part-object that is constitutive of Sylvie’s sense of self and her ability to desire. This proposition leads—throug...</p>]]></description> 
    <dc:creator>Jennifer Murray</dc:creator>
    <link>http://journals.openedition.org/jsse/4881</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4868">
    <title>Nathaniel Hawthorne’s “The Minister’s Black Veil”: Hooper’s Hieroglyphics</title>
    <description><![CDATA[
      <p class="resume">This article examines Nathaniel Hawthorne’s “The Minister’s Black Veil” through the lens of symbolism and ambiguity, focusing on Reverend Hooper’s enigmatic veil. This veil serves as a powerful metaphor for the complexities of sin, stigma, and the human condition, positioning Hooper as both a crypt and a hieroglyph—an object of interpretation that eludes definitive understanding. The narrative explores the impact of the veil on Hooper’s social relationships, highlighting the theme of stigmatization and the alienation that arises from concealment. Drawing on philosophical perspectives, the article argues that Hawthorne’s text invites readers to engage in a hermeneutic search for meaning, as the veil represents a multifaceted barrier between identity and perception. The article underscores the intricate interplay between visibility, secrecy, and the quest for understanding within the fabric of Hawthorne’s narrative world.</p>]]></description> 
    <dc:creator>Romain Wong</dc:creator>
    <link>http://journals.openedition.org/jsse/4868</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4859">
    <title>Between It-Narratives and Agalmata: Nathaniel Hawthorne’s Tales, (In)Animate Things and the Lifelikeness of Artefacts</title>
    <description><![CDATA[
      <p class="resume">“Drowne’s Wooden Image” (1844) and “Feathertop” (1852) have often been read as indebted to the myth of Pygmalion. Yet, multiple deviations from the standard pattern complicate the ways in which readers understand the age-old ambition of artists of achieving lifelikeness, life itself, in their works. The wonders reported in art literature of the Pygmalion ilk turn out to be a commonplace feature in any narrative text employing the ordinary powers of fictive animation. In “Feathertop,” featuring a scarecrow-turned-gentleman thanks to witchcraft, fiction is shown exhibiting its own fictive power to build up a likely candidate for lifelikeness from a cluttered collection of almost anything. “Drowne’s Wooden Image” is a story that reports a story, that of a lady seen promenading in town who would be the flesh-and-blood avatar of her true, pre-existent sculptural self, a ship’s figurehead executed by Drowne. Never endorsing the legendary material nor dismissing it as an instance of arrant...</p>]]></description> 
    <dc:creator>Bruno Monfort</dc:creator>
    <link>http://journals.openedition.org/jsse/4859</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4857">
    <title>The Ironic Oneiric in Nathaniel Hawthorne’s Tales</title>
    <description><![CDATA[
      <p class="resume">The present article examines the influence of German Romanticism on Hawthorne’s treatment of dreamwork—more specifically embedded dreams—in his tales. The interest of the Jena Circle for the unconscious and its relation to creativity, their aesthetics of “objective subjectivity” and the by-passing of contradictions through irony, were theories that could have influenced Hawthorne’s use of the oneiric as ironic, that is, as pointing towards a superior dimension that is less metaphysical than it is metafictional. The intense receptivity that ignores logic and moral discipline in the night side is that of the conscious artist as well as that of the unconscious dreamer. The article addresses “The Haunted Mind,” “The Birthmark,” “Young Goodman Brown,” “Wakefield,” “Rappaccini’s Daughter,” and “The Wives of the Dead.” It focuses on explicit hypodiegetic dreams or dreams within the tale, as opposed to the general dreaminess often associated with Hawthorne’s universe.</p>]]></description> 
    <dc:creator>Isabelle Boof-Vermesse</dc:creator>
    <link>http://journals.openedition.org/jsse/4857</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4848">
    <title>Nathaniel Hawthorne by Gaslight: The Illumination of Romance</title>
    <description><![CDATA[
      <p class="resume">This article considers the significance of gas-powered lighting in Nathaniel Hawthorne’s short fiction. It was during Hawthorne’s youth that inflammable gas became the nineteenth century’s preeminent fuel for lighting, and his stories and notes demonstrate a concerted effort to fold inflammable gas and its light into the romantic imagination—to ascribe symbolism and moralizing potential to this new and increasingly pervasive discovery. Studying Hawthorne’s highly strategic and varying use of gaslight in his short fiction, we gain a more nuanced understanding of how Anglo-American Romanticism, far from holding to a restrictive repertoire of symbols, absorbed major technological and scientific developments of the period and unlocked their different potentialities through a kind of literary experimentation.</p>]]></description> 
    <dc:creator>Matthew Redmond</dc:creator>
    <link>http://journals.openedition.org/jsse/4848</link>
    <dc:date>2025-12-18</dc:date>
  </item>
  <item rdf:about="http://journals.openedition.org/jsse/4797">
    <title>“Every water has its own rules and offering”: An Amphibious Interpretation of Anne Carson’s Blue-Green Short Story “1 = 1”</title>
    <description><![CDATA[
      <p class="resume">First published in <em>The New Yorker</em> magazine in January 2016, Anne Carson’s “1 = 1” addresses profound questions about what it means to swim in a large waterbody as a human and a non-human, terrestrial animal. The short story features water as a material foundation, as a mythology, and as a trope for the central female character’s struggle to connect with her environment. Water is also conducive of the character’s lament for the loss of refugees’ lives on the Mediterranean Sea, and for her ekphrastic role as a commentator on visual representations of ecological and geopolitical developments. To gauge the blue poetics of Carson’s short story, this article proposes that swimming in the big lake allows the central character to reconnect with the waterbody and by extension with her trans-corporeality, which in turn affects her ekphrastic commentary. In five fluid moves from one eco-ekphrasis to another—the fictional map in John Cheever’s “The Swimmer,” two photographs of refugees, and two...</p>]]></description> 
    <dc:creator>Monika Class</dc:creator>
    <link>http://journals.openedition.org/jsse/4797</link>
    <dc:date>2025-12-18</dc:date>
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