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Short Fiction in Theory & Practice 13.1 is out now!
Wednesday, June 28, 2023

Short Fiction in Theory & Practice 13.1 is out now!

Intellect is pleased to announce that Short Fiction in Theory & Practice 13.1 is out now.

 

Articles in the issue address the short story’s relationship with the visual arts, drama, music and film. They also show how the short story can subvert dominant narrative frameworks. 

 

For more information about the journal and issue click here>>

https://www.intellectbooks.com/short-fiction-in-theory-practice

 

Aims & Scope

 

Short Fiction in Theory & Practice provides an international forum for all those writing, reading, translating or publishing the short story, in all its diversity – including flash fiction, the novella, cycles, sequences, anthologies and single-author collections; hypertext, popular fiction (e.g. science fiction, horror), the prose poem, the non-fiction story and other hybrid genres. It looks at the short story from the practitioner’s viewpoint; we are concerned with the ongoing process and philosophy of composition rather than the ‘postevent’ dissection of literary texts.

 

This title is indexed with Scopus.

 

Issue 13.1

 

Editorial

AILSA COX

 

Articles

 

Reading the ‘wordless unease’ in Margaret Atwood’s ‘Death by Landscape’

ELEANORA TOGYER

 

Platonov or bust

FRASER GRACE

 

Writing popular music fiction

HUSSEIN BOON

 

‘Always half-and-half’: ‘Voyage in’ as halfness in Jean Rhys’s short fiction

RUCHI MUNDEJA

 

‘She would probably envy herself, from outside’: Auto-fictional narrations in Alice Munro’s ‘Fiction’

DAN DISNEY

 

Knowledge and understanding: Education in Aldous Huxley’s short stories

ANDRIJA MATIĆ

 

Book Review

 

Reverse Engineering, Tom Conaghan (ed.) (2022) 

 

Reverse Engineering II, Tom Conaghan (ed.) (2022)

 

A Very Short Introduction to the Short Story, Andrew Kahn (2021)

ALEIX TURA VECINO

 

Report

 

Resocialization and regeneration in Ernest Cline’s ‘The Omnibot Incident’

TOM UE

 

Interview

 

‘Mainlining Ray Bradbury’: An interview with Carmen Maria Machado

A. J. ASHWORTH