This thesis examines the juncture between the short story cycle form and genderpolitics. It explores how twentieth-century women from the United States have beenusing the form to represent and question gender identity. The introduction outlinescommentaries on the story cycle and considers definitions of the form. It includes casestudies of earlier twentieth-century cycles by American women: cycles such as MaryMcCarthy's The Company She Keeps that have been passed over by critics of the form.Chapter One presents Eudora Welty's The Golden Apples as a cycle paradigm,examining conventions such as the form's metafictional dimension and itspreoccupation with communal identity. Chapter Two argues that Grace Paley'sscattered Faith narratives set a standard for more dispersed versions of the form.Chapter Three considers how Joyce Carol Oates uses the sequential cycle to representgender identity as a social construct. Chapters Four and Five examine the macrocosmiccycles of Gloria Naylor and Louise Erdrich and consider changes in their form andgender politics. The final `composite' chapters explore postmodern versions of the formsuch as Susan Minot's Monkeys. The prose works of Sandra Cisneros stretch across thestory cycle continuum, whilst Toni Morrison's Paradise is universally regarded as anovel. Readings of contemporary cycles by Melissa Bank, Elissa Schappell and EmilyCarter demonstrate that American women are re-invigorating the form to facilitate theplural identity of the postmodern heroine.
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