Hindi Hot Story Book Download
Donnell Simon
The Story Collider is dedicated to true, personal stories about science. We host regular live shows across the US and UK, and produce a weekly podcast. We believe everybody has a story about science, because now, more than ever, science is a part of all of our lives.
A short story is a piece of prose fiction that can typically be read in a single sitting and focuses on a self-contained incident or series of linked incidents, with the intent of evoking a single effect or mood. The short story is one of the oldest types of literature and has existed in the form of legends, mythic tales, folk tales, fairy tales, tall tales, fables and anecdotes in various ancient communities around the world. The modern short story developed in the early 19th century.[1]
The short story is a crafted form in its own right. Short stories make use of plot, resonance and other dynamic components as in a novel, but typically to a lesser degree. While the short story is largely distinct from the novel or novella/short novel, authors generally draw from a common pool of literary techniques.[citation needed] The short story is sometimes referred to as a genre.[2]
Determining what exactly defines a short story has been recurrently problematic.[3] A classic definition of a short story is that one should be able to read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846).[4] H.G. Wells described the purpose of the short story as "The jolly art, of making something very bright and moving; it may be horrible or pathetic or funny or profoundly illuminating, having only this essential, that it should take from fifteen to fifty minutes to read aloud."[5] According to William Faulkner, a short story is character-driven and a writer's job is to "...trot along behind him with a paper and pencil trying to keep up long enough to put down what he says and does."[6]
Some authors have argued that a short story must have a strict form. Somerset Maugham thought that the short story "must have a definite design, which includes a point of departure, a climax and a point of test; in other words, it must have a plot".[5] Hugh Walpole had a similar view: "A story should be a story; a record of things happening full of incidents, swift movements, unexpected development, leading through suspense to a climax and a satisfying denouement."[5]
This view of the short story as a finished product of art is however opposed by Anton Chekov, who thought that a story should have neither a beginning nor an end. It should just be a "slice of life", presented suggestively. In his stories, Chekov does not round off the end but leaves it to the readers to draw their own conclusions.[5]
Sukumar Azhikode defined a short story as "a brief prose narrative with an intense episodic or anecdotal effect".[3] Flannery O'Connor emphasized the need to consider what is exactly meant by the descriptor short.[7] Short story writers may define their works as part of the artistic and personal expression of the form. They may also attempt to resist categorization by genre and fixed formation.[5]
[a short story] seem[s] to answer something very deep in our nature as if, for the duration of its telling, something special has been created, some essence of our experience extrapolated, some temporary sense has been made of our common, turbulent journey towards the grave and oblivion.[8]
Short stories have no set length. In terms of word count, there is no official demarcation between an anecdote, a short story, and a novel. Rather, the form's parameters are given by the rhetorical and practical context in which a given story is produced and considered so that what constitutes a short story may differ between genres, countries, eras, and commentators.[12] Like the novel, the short story's predominant shape reflects the demands of the available markets for publication, and the evolution of the form seems closely tied to the evolution of the publishing industry and the submission guidelines of its constituent houses.[13]
As a point of reference for the genre writer, the Science Fiction and Fantasy Writers of America define short story length in the Nebula Awards for science fiction submission guidelines as having fewer than 7,500 words.[14]
Short stories date back to oral storytelling traditions which originally produced epics such as the Ramayana, the Mahabharata, and Homer's Iliad and Odyssey. Oral narratives were often told in the form of rhyming or rhythmic verse, often including recurring sections or, in the case of Homer, Homeric epithets. Such stylistic devices often acted as mnemonics for easier recall, rendition, and adaptation of the story. Short sections of verse might focus on individual narratives that could be told at one sitting. The overall arc of the tale would emerge only through the telling of multiple such sections.
According to Azhikode, the short story has existed "in the most ancient times as the parable, the adventure-story of men, gods and demons, the account of daily events, the joke".[15] All languages have had variations of short tales and stories almost since their inceptions.[15] Emerging in the 17th century from oral storytelling traditions, the short story has grown to encompass a body of work so diverse as to defy easy characterization. "The short story as a carefully contrived literary form is of modern origin", wrote Azhikode.[15]
Another ancient form of short story, the anecdote, was popular under the Roman Empire. Anecdotes functioned as a sort of parable, a brief realistic narrative that embodies a point. Many surviving Roman anecdotes were collected in the 13th or 14th century as the Gesta Romanorum. Anecdotes remained popular throughout Europe well into the 18th century with the publication of the fictional anecdotal letters of Sir Roger de Coverley.
In Europe, the oral story-telling tradition began to develop into written form in the early 14th century, most notably with Geoffrey Chaucer's Canterbury Tales and Giovanni Boccaccio's Decameron. Both of these books are composed of individual short stories, which range from farce or humorous anecdotes to well-crafted literary fiction, set within a larger narrative story (a frame story), although the frame-tale device was not adopted by all writers. At the end of the 16th century, some of the most popular short stories in Europe were the darkly tragic "novella" of Matteo Bandello, especially in their French translation.
In India, there is a rich heritage of ancient folktales as well as a compiled body of short fiction which shaped the sensibility of modern Indian short story. Some of the famous Sanskrit collections of legends, folktales, fairy tales, and fables are Panchatantra, Hitopadesha and Kathasaritsagara. Jataka tales, originally written in Pali, is a compilation of tales concerning the previous births of Lord Gautama Buddha. The Frame story, also known as the frame narrative or story within a story, is a narrative technique that probably originated in ancient Indian works such as Panchatantra.[16][17]
The evolution of printing technologies and periodical editions were among the factors contributing to the increasing importance of short story publications. Pioneering the rules of the genre in the Western canon were, among others, Rudyard Kipling (United Kingdom), Anton Chekhov (Russia), Guy de Maupassant (France), Manuel Gutiérrez Nájera (Mexico) and Rubén Darío (Nicaragua).
In the latter half of the 19th century, the growth of print magazines and journals created a strong demand for short fiction of between 3,000 and 15,000 words. In 1890s Britain, literary periodicals such as The Yellow Book, Black & White, and The Strand Magazine popularized the short story.[21] Britain was not alone in the endeavor to strengthen the short story movement. French author Guy de Maupassant composed the short stories "Boule de Suif" ("Ball of Fat", 1880) and "L'Inutile Beauté" ("The Useless Beauty", 1890), which are important examples of French realism. Russian author Anton Chekhov was also influential in the movement.[citation needed]
In 1884, Brander Matthews, the first American professor of dramatic literature, published The Philosophy of the Short-Story. During that same year, Matthews was the first one to name the emerging genre "short story".[22] Another theorist of narrative fiction was Henry James, who produced some of the most influential short narratives of the time.
The spread of the short story movement continued into South America, specifically Brazil. The novelist Machado de Assis was an important short story writer from Brazil at the time, under the influences of Xavier de Maistre, Laurence Sterne, Guy de Maupassant, among others.[citation needed] At the end of the 19th century, the writer João do Rio became popular by short stories about the bohemianism. Lima Barreto wrote about the former slaves and nationalism in Brazil, with his most recognized work being Triste Fim de Policarpo Quaresma.[23]
In Uruguay, Horacio Quiroga became one of the most influential short story writers in the Spanish language.[citation needed] With a clear influence from Edgar Allan Poe, he had a great skill in using the supernatural and the bizarre to show the struggle of man and animal to survive. He also excelled in portraying mental illness and hallucinatory states.
In India, Saadat Hasan Manto, the master of the short story in the Urdu language, is revered for his exceptional depth, irony, and sardonic humor.[citation needed] The author of some 250 short stories, radio plays, essays, reminiscences, and a novel, Manto is widely admired for his analyses of violence, bigotry, prejudice, and the relationships between reason and unreason.[citation needed] Combining realism with surrealism and irony, Manto's works, such as the celebrated short story Toba Tek Singh, are aesthetic masterpieces that continue to give profound insight into the nature of human loss, violence, and devastation.[citation needed] Another famous Urdu writer is Ismat Chughtai, whose short story, "Lihaaf" (The Quilt), on a lesbian relationship between an upper-class Muslim woman and her maidservant created great controversy following its publication in 1942.
aa06259810