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A Large & Startling Figure

The Harry Crews Online Bibliography

Anthologies

Antholgoized short stories.

Georgia Stories: Major Georgia Short Fiction of the Nineteenth and Twentieth Centuries.
Ben Forkner, editor.
Peachtree Publishers, 1992.
Pages 227-233.

Reprints "A Long Wail" from The Georgia Review (Summer 1964).

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New Visions: Fiction by Florida Writers.
Omar S. Castaneda, Christine Blackwell, & Jonathan Harrington, editors.
Arbiter Press, 1989.
Pages: 20-28.

Reprints "The Unattached Smile" from The Sewanee Review (Spring 1963).

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The Georgia Review.
"Fortieth Anniversary Fiction Retrospective."
Lindberg, Stanley W., editor.
40.1 (Spring 1986): 68-74.

Reprints "A Long Wail" from The Georgia Review (Summer 1964).

From "Contributors" [340]: Harry Crews's 'A Long Wail' was his first accepted and second published story. It was also his last published story, as he moved quickly to the writing of the novels for which he is best known: first The Gospel Singer (1968) and then seven others, including Karate is a Thing of the Spirit, Car, and A Feast of Snakes. Over the past ten years he has written essays for Esquire and Playboy, many of which are collected in Blood and Grits (1979). His autobiography, A Childhood (1978), has been widely recognized as a modern masterpiece of the genre. Born and raised in Bacon County, Georgia, he has taught at the University of Florida for more than fifteen years."

Craft and Vision: The Best Fiction from The Sewanee Review.
Andrew Lytle, editor.
Delacorte Press, 1971.
Page 53-61.

Reprints "The Unattached Smile" from The Sewanee Review (Spring 1963).

In his forward, Andrew Lytle writes, "The stories are written out of a conscious use of the craft. As widely different as are the subjects and styles, this fiction represents the oldest tradition in the world, the perpetual understanding of the human predicament and the sense that it can only be imparted formally."

Lytle continues: "The term creative writing is a bad term. Only God creates. The artist imitates, but he imitates not the surface of things but the inward and complete nature of man, caught and surrounded as he is in nature and society. Because fiction, unlike verse, is discursive, the author's risk is often excessive. But once his subject is found and recognized, the craft may be consciously used, so long as he remembers it is a tool. In the end the sudden discovery of form and subject conjoined is a mystery. It is instantaneous; and nobody, including the author, takes in quite how the two fuse and thus allow the drama to unfold."

See Watson (1973) Criticism for his review of the anthology.