In the first half of the 20th century the appeal of the short story continued to grow. Literally hundreds of writers—including, as it seems, nearly every major dramatist, poet, and novelist—published thousands of excellent stories. William Faulkner suggested that writers often try their hand at poetry, find it too difficult, go on to the next most demanding form, the short story, fail at that, and only then settle for the novel.
As the familiarity with it increased, the short story form itself became more varied and complex. The fundamental means of structuring a story underwent a significant change. The overwhelming or unique event that usually informed the 19th-century story fell out of favor with the storywriter of the early 20th century, who grew more interested in subtle actions and unspectacular events. Sherwood Anderson, one of the most influential U. S. writers of the early 20th century, observed that the common belief in his day was that stories had to be built around a plot, a notion that, in Anderson’s opinion, appeared to poison all storytelling. His own aim was to achieve form, not plot, although form was more elusive and difficult. The record of the short story in the 20th century is dominated by this increased sensitivity to—and experimentation with—form. Although the popular writers of the century (like O. Henry in the U. S. and Paul Morand in France) may have continued to structure stories according to plot, the greater artists turned elsewhere for structure, frequently eliciting the response from cursory readers that “nothing happens in these stories.” Narratives like Ernest Hemingway’s “A Clean, Well-Lighted Place” (1933) may seem to have no structure at all, so little physical action develops; but stories of this kind are actually structured around a psychological, rather than physical, conflict. In several of Hemingway’s stories (as in many by D. H. Lawrence, Katherine Mansfield, and others), physical action and event are unimportant except insofar as the actions reveal the psychological underpinnings of the story. Stories came to be structured, also, in accordance with an underlying archetypal model: the specific plot and characters are important insofar as they allude to a traditional plot or figure, or to patterns that have recurred with wide implications in the history of mankind. Katherine Anne Porter’s “Flowering Judas” (1930), for example, echoes and ironically inverts the traditional Christian legend. Still other stories are formed by means of motif, usually a thematic repetition of an image or detail that represents the dominant idea of the story. “The Dead,” the final story in James Joyce’s Dubliners(1914), builds from a casual mention of death and snow early in the story to a culminating paragraph that links them in a profound vision. Seldom, of course, is the specific structure of one story appropriate for a different story. Faulkner, for example, used the traditional pattern of the knightly quest (in an ironic way) for his story “Was,” but for “Barn Burning” he relied on a psychologically organic form to reveal the story of young Sarty Snopes. [3]
No single form provided the 20th-century writer with the answer to structural problems. As the primary structuring agent, spectacular and suspenseful action was rather universally rejected around midcentury since motion pictures and television could present it much more vividly. As the periodicals that had supplied escapist stories to mass audiences declined, the short story became the favored form of a smaller but intellectually more demanding readership. Borges, for example, attracted an international following with his Ficciones, stories that involved the reader in dazzling displays of erudition and imagination, unlike anything previously encountered in the genre. Similarly, the American Donald Barthelme’s composition consisted of bits and pieces of, e.g., television commercials, political speeches, literary allusions, eavesdropped conversations, graphic symbols, dialogue from Hollywood movies—all interspersed with his own original prose in a manner that defied easy comprehension and yet compelled the full attention of the reader. The short story also lent itself to the rhetoric of student protest in the 1960s and was found in a bewildering variety of mixed-media forms in the “underground” press that publicized this life style throughout the world. In his deep concern with such a fundamental matter as form, the 20th-century writer unwittingly affirmed the maturation and popularity of the genre; only a secure and valued (not to mention flexible) genre could withstand and, moreover, encourage such experimentation.
«Social issues» covers a pretty broad collection of things for a text to potentially approach that any truly worthy piece of literature will approach social issues in one way or another. «Social issues» are the issues which can explore more about money (ex. poverty, social stratification), gender (ex. sexism, LGBT issues), environment, war, race, or politics. For example, if gender inequality is the issue we can say as an author frequently referenced in feminist criticism, such as Virginia Woolf, Adrienne Rich, or Toni Morrison. If race is the issue to tackle, go for something Post-Colonial (ex. Louise Erdrich, Chinua Achebe, orSalman Rushdie). It can be considered Dickens to be the most profound writer in regards to social issues. However, it's important to note that Charles Dickens was only considering the specific social issues in his own, British historical context: the industrial revolution in England. It's also important to note that in his Oliver Twist social issues depicted in master way.
In the world of classic novels, Harper Lee deals with lots of social issues such as race in To Kill a Mockingbird. The same is true of Fitzgerald's The Great Gatsby regarding social class and money. William Golding's Lord of the Flies is a chilling look at society without the rule of law. [1]
At the beginning of the XX century Uzbek literature of the Soviet period was born. Important representatives are Mukimi Furkat, Hamza Niyazi Khakimzade and Sadriddin Aini Abdullah Kadiri, Fitrat, Oybek, Ghulam Ghafoor, Abdullah Kahhar, Xamid Alimjan, Uygun and the others.
In line with the time evolved during the war years and Uzbek prose becomes the leading genre of short prose by virtue of its «fast on the response». Higher development reached its journalistic genres. Mature samples of military journalism, especially on theme support rear front, patriotism, boundless hatred for fascism people created such Uzbek writers like: H. Alimdjan («I am speaking on behalf of the Uzbek people»(«Я говорю от имени узбекского народа»), «About our friendship»), G. Ghulam («Onalar» — «Mothers», Not cut plaits of Momoi), S. Aini («The agony of a wounded beast», “Motherland, Aybek («Galaba bahori»- «spring victory»). [2]
One of the most remarkable specimens of the Uzbek military journalism war years is considered «Letter of native edge fighters of Uzbek people”. Created in 1942 by collection of authors, the letter makes the strongest impression sincere words of love to the fatherland, faith to the victory.
During the war years written numerous essays about war heroes, some of them entered the collected stories “Eight Heroes” («Sakkiz botir ") and «Tales of courage» («Mardlik kissalari»). The most striking essays published in periodical press. In those years the 16 frontline newspapers were publishing in Uzbek-language, in particular “Front realities” "(Frontovaya Pravda»)», Vatan Sharafi Uchun («vo slavu rodiny»), «Bong» («Alarm»), «Soviet fighter», «Kizil Askar haqiqati» and others.
In its essays, published on the pages of the front-line newspapers Aybek, H. Alimdjan, N. Safarov, I. Rahim, Z. Fatkhullin, Nazarmat, Mumtoz Mukhammedov many wrote about the difficult life of big heroic feats were witnessed fighters themselves. At the same time, Ayni, G. Gulyam, Aydin, K. Yashen, Zulfiya, P. Tursun, Zafar Diyor, Said Nazar created living images of fighters from the rear of the front. The heroes battle work narrate works such as: «Fidokor qizlar» («Faithful girl») of Aybek, «Woman, argued with her husband” of G.Ghulam; «letter to Shirin” by Aydin», «White gold» by P. Tursun; «Farhod ostonalarida (" Rapids Farhad) by Said Ahmad; «Vatan Uchun Jon Fido» («a life for the motherland»), by Aydin and Zulfiya. They talked about such labor exploits people as construction Farhad hydroelectric power station, whose tireless work in the cotton fields of remarkable women and girls, the wise old men, replaced front men and of the last forces of workers for the name of victory. [2]
During the war years intensively develops genre story in the works of writers such as A. Kakhar and Aydin. We can say that the talented pen of A. Kahhar wrote with the «ink of life”: as in his stories» Asrorbobo», «Hotinlar "(" Women ")», Botirali ". This same quality marked and stories in collections of Aydın «Kizlarjon» («Lovely my girls», 1943) and Shirin keldi» («Shireen came ", 1944). Stories raised spiritual forces people, strengthen faith in victory. The military reality depicted in them in terms of personal perception.
It is important to note the significance of A. Kahhar fruitful work in the genre of military novels. In his book «Dardakdan chikkan kahramon» («Hero of the Dardak»), «Oltin yulduz» («Golden Star») depicted the exploits of Uzbek fighters who fought against the fascists. Truthful images of Kuchkar Turdiev and Ahmadjan Shukurov became notable for all the people. The writer's talent was that he not only had them pictured the life of heroes, but reflected their inner world. Bright psychologism creativity Kahhar manifests itself in the emphasis not on warfare, and the Man of war. [2]
During the war years was written historical novel Aybek «Navoi», released in 1944, and is a true creative feat. This novel entered the Golden Fund of the worldwide literature that demonstrates once again the strength of national literature, whose progressive development could not pause even war.
However, no matter how successful were the achievements of Uzbek prose during the war years, it has not evolved so dynamically as the national poetry that is largely attributed to the genre specificity — more quickly reacting to events of military years poetry went toe-to-toe with life and, as demanded by the military realities, directly influenced the human heart and soul.
References:
- Андреев Л. Г. История зарубежной литературы XX века. — М: Периодика, 1980. — c. 68.
- Сайдулла Мирзаев. Узбекская литература ХХ века. — Москва: “Восточная литература” РАН, 2010. СС. 8–234
- Donald E. Polkinghorne, Narrative Knowing and the Human Sciences. Albany N. Y.: State University of New York Press, 1988
