![]() ![]() ![]() And they’re mostly written by white men and women. Many of them, while reading, feel too removed from the modern day to really connect to them. They don’t necessarily account for modern events, perspectives, or context. They’re good and they serve the purpose they are meant to, whether students get annoyed or not.īut they’re not very contemporary. I still think about Omelas and the woman in the wallpaper and the one day of sunlight even now. Good for teaching voice or theme or pacing in bite-sized chunks, just hard enough to challenge students without frustrating them to the point of quitting. No modern short stories for high school readers to be found.įor decades, these stories have been on the reading lists of teenagers everywhere. They pack just as big a punch as some novels in less than a quarter of the space, and they’re one of the best tools a writer has in their arsenal for improving their craft. Most writers don’t know how to write or publish short stories in general. ![]() Throw in some Kate Chopin, Edgar Allen Poe, maybe James Joyce or Nathaniel Hawthorne or Mark Twain and you’ve covered the majority of what I read through junior high and high school. Short stories are hugely underappreciated. “All Summer in a Day” by Ray Bradbury or “The Ones Who Walk Away From Omelas” by Ursula K. “The Lottery” by Shirley Jackson or “The Yellow Wallpaper” by Charlotte Perkins Gilman. I think we all read at least some of the same short stories in high school English class. These powerful short stories will stay with you long after you’ve finished them.
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