English 320:  The Short Story (Fall 2004)

General Prep Sheet for the Exam 1

[Note:  If you print off this prep sheet for use off-line, remember that anything that shows up as underlined is not being singled out for special emphasis, but represents a link that you can follow-up only by going back online and clicking on it.]

Exam 1 will cover all of the assignments (except for those specified as recommended only) on Parts 1 and 2 of the Course Schedule.

Page references below are to our text, Gioia and Gwynn's The Longman Anthology of Short Fiction.  When you print out a copy of this prep sheet, remember that anything underlined here is a link, which you have to click on while you're on-line, in order to access the document to which it is linked.  (There is one story -- Lardner's "Haircut" -- that is not to be found in our text.  If you've lost the copy handed out in class, you can print another off in Adobe Acrobat format (*.pdf) from the link below.)

This exam is worth a total of 100 points.  It will be taken in-class, on a closed book basis.  For these, be sure to see the Detailed Prep Sheet for Exam 1.

In each answer, whether shorter or longer, you will be expected to show familiarity with certain critical concepts and, of course, with the relevant details of the work under discussion.

Here are the works you need to be familiar with for the exam.

  1. the Grimm Brothers' "Godfather Death"
  2. Voltaire's "Story of a Good Brahmin" (There's a Study Guide to this piece.)
  3. Thurber's "The Owl Who Was God"
  4. Bierce's "The Moral Principle and the Material Interest"
  5. Freud's allegorization of the traditional tale of "The Horse of Schilda"
  6. Boccaccio's "The Pot of Basil" (pp. 32-36)
  7. Marguerite of Navarre's "The One-Eyed Servant and His Wife" (pp. 35-36)
  8. Guy de Maupassant, “The Necklace”

  9. Kate Chopin, “The Story of an Hour” (SG)

  10. Kate Chopin, "The Storm"

  11. Chinua Achebe, "Dead Men's Path" {Cf. SG1 or SG2.)

  12. Flannery O'Connor, "Revelation"

  13. Yukio Mishima, "Patriotism"

  14. Edgar Allan Poe, “The Tell-Tale Heart” (SG)

  15. Eudora Welty, "Why I Live at the P.O." (SG)

  16. Ring Lardner's "Haircut"

  17. T. Coraghessan Boyle, "Greasy Lake

  18. Raymond Carver, “Cathedral”

  19. Ralph Ellison, "A Party Down at the Square"

  20. Jamaica Kincaid, "Girl"
Notice what does not appear on this list:

Recall that, for many of these stories, there is a study guide that might be worth your attention.  I've indicated these.  As you re-read the stories in preparation for the exam, make a special point of bringing to bear the standard repertoire of sophisticated curiosities we've been practicing so far.  Possibly useful in helping you to do this is General Study Guide: An Agenda of Curiosity for Reading Fiction.

Once you have made some provisional decisions about which stories you want to focus on for the first three sections, you will want to see whether the editors' questions following these stories might offer useful inroads for your purposes.  The same goes for the various study guides on the web that were linked to from the Course Schedule (Parts I).

The critical concepts you should try to show familiarity with on this exam are the following.  In the list below I have given links to some rather extensive discussions of some of these notions in the Glossary of Critical Concepts on our course web site.  But you should first review the introductory and concluding pointers the editors of our text provide in their sections on

Then review the stories listed above in the light of their discussions.

When you have decided on the questions want to focus on preparing for your longer answers, you can then go to the more detailed treatments of the relevant concepts in our web glossary.  (Don't forget, though, that a very important resource to exploit should be the discussion that develops on these stories on our class Message Board.)  

č I've also indicated with the symbol # pages where you can find a brief entry in the editors' glossary towards the end of our textbook.

In thinking about "point of view" in connection with fiction, you'll want to work through the following articles in our online glossary of critical terms:



Your job is not to define these terms in the abstract ("fill in the blank"), or to match them with definitions.  Rather you should be able to apply them appropriately.


Be sure to see the Detailed Prep Sheet for Exam 1.  This gives you concrete examples of the particular kinds of questions you can expect to encounter on the exam.

You may wish to review the criteria I will be using in evaluating your essays (both in-class and take-home).  You can find a succinct statement of these here and a more detailed explanation here.

On our exams and in our essays, students are acting under Kansas State University's provisions regarding Academic Honesty and Plagiarism.  An important point in these provisions is that instructors may spell out what degree of collaboration is permitted among students on specific assignments.  For this exam, you are positively encouraged to use the class Message Board to help each other in thinking through the facts and issues that are relevant to any of the questions on this prep sheet.

Good luck!  I recommend an active discussion on our Message Board!