Ann Petry's Short Fiction

HAZEL ARNETT ERVIN is Associate Professor of English, Department of English, Morehouse College.HILARY HOLLADAY is a Professor of English at the University of Massachusetts, Lowell, where she teaches African American Literature, Literature of the Beat Movement, and Modern Poetry. She is the author of Ann Petry (Twayne, 1996) and Wild Blessings: The Poetry of Lucille Clifton (LSU Press, 2004).

• AcknowledgmentsChronologyIntroductionCritical EssaysA World Made Cunningly: A Closer Look at Ann Petry's Short Fiction by Gladys J. WashingtonAnn Petry and African Poetics: A Review of "Solo on the Drums" by Sheikh Umar KamarahFolk Traditions in the Short Fiction of Ann Petry by Gladys J. WashingtonArtistic Discourse in Three Short Stories by Ann Petry by Nora Ruth RobertsJazz/Blues Structure in Ann Petry's "Solo on the Drums" by Gayl Jones"Miss Muriel": Rewriting Innocence into Experience by Paul Wiebe"From a Thousand Different Points of View": The Multiple Masculinities of Ann Petry's "Miss Muriel" by Keith ClarkRiot as Ritual: Ann Petry's "In Darkness and Confusion" by George R. Adams"Ain't No Room for Us Anywhere": Reading Ann Petry's "In Darkness and Confusion" as a Migration Narrative by Deidre RaynorApartheid Among the Dead: Christian Laughter in Ann Petry's "The Bones of Louella Brown" by Gene FendtThe Narrator as Feminist Ally in Ann Petry's "The Bones of Louella Brown" by Amy LeeTaking the Cake: Ann Petry's "Has Anybody Seen Miss Dora Dean?" by Barbara Lewis"The Man Who Cried I Am": Reading Race, Class, and Gender in Ann Petry's "The Witness" by Carol E. HendersonTraumatic Reenactment and the Impossibility of African American Testimony in Ann Petry's "Like a Winding Sheet" and "The Witness" by Eve TettenbornBibliographyIndexAbout the Contributors