T. B.
General. Fannie Hurst is represented in three collections of “The Best Short Stories.” The reason lies in the facts that she is one of the skilled technicians of the time, one of the hardest workers—sparing no pains to achieve that sound structure and perfection of detail which only the seasoned artist knows how to achieve; that by narrative, which stands without emphasis of didactic or propaganda purpose, she yet manages to convey an idea much larger than the story itself, and that she has quite literally created a unique world of men and women who nevertheless in their behavior reflect a part of the myriad-minded and many-mooded contemporary life. Any one of the present stories will prove the truth of this assertion.
Starting Point of “T. B.” “The flint that struck spark for ‘T. B.’,” says Miss Hurst, “was the sight of a humpy looking girl standing before the window display of a Tuberculosis exhibit.”
Plot.
Initial Impulse: Sara Juke faints at the Hibernian Hop. How is this event prepared for in the finally developed story?
Steps toward the Dramatic Climax: Sara and Charley leave the hall. This stage is succeeded by others preparing for the counter-play and emphasizing the T. B. motif. They see the Tuberculosis exhibit, and visit it. The pink-faced young attendant gives Sara a circular. Sara fears the disease. She revisits the display. The attendant, Eddie Blaney, shows his interest, advising her to go to a clinic for examination. At Sharkey’s Sara tells Charley the doctor’s verdict. What obvious steps in the action has the author omitted, thus giving the reader the chance to help in constructing the story?
Dramatic Climax: Charley leaves Sara. (This climax is, of course, intensified by its juxtaposition to the doctor’s verdict; in fact, the two details together may be regarded as a double climax. Miss Hurst is one of the best authors to study for duplication of dramatic climax effect. See also, for example, “Ice Water.”)
Steps toward the Climax of Action: Eddie Blaney meets Sara and takes her to the country. (Has this step been prepared for duly? Why is it one not left to the reader’s imagination—that is, the engagement made previously?) Eddie encourages Sara, telling her she will be well by Christmas.
Climax of Action: (Deduced by reader.) How has Miss Hurst in the developed story suggested the inevitable ending?
Characters. By what speeches and acts does the author flash the personality of Sara? By which ones in particular does she draw the reader’s sympathy to her? How is Hattie Krakow used to emphasize the appeal of Sara? What other purpose does Hattie serve? How is her interest in Sara motivated? How far is Charley one of a type? To what extent individualized? Is the type or the individual more necessary to the author’s purpose here? How does Charley’s treatment of Sara enhance the reader’s interest? How is Blaney’s solicitude for the girl motivated? Do the three characters constitute the three figures of a “triangle” story? If so, is the triangle one of distinctly new features?
Setting. How many times does the scene change? How is contrast employed in the construction of settings? Does the change in scene conform to the plot action? Has this relationship a necessary unifying value? What is the time of the story?
Details. How much space does the author consume before gliding into the introduction of character and setting? What is its worth? A student once asked Miss Hurst why she chose such openings, suggesting that quite frequently the reader found it difficult to see the connection. Miss Hurst smilingly replied that it was her idiosyncrasy. “That’s where I take my fling.” Is there more back of her words than her modesty allowed her to assert? What is the real contribution made by page 84?
What are the principal features of the economy by which she presents to the reader the opening situation?
Note the many details by which throughout the story the author keeps vividly before the reader the actual setting. Although her method is that of the romanticist, her result is one of reality. In listing these details, notice that another purpose is also effected—another economical device. “On a morning when the white-goods counter was placing long-sleeve, high-neck nightgowns in its bargain bins,” page 85, conveys the season, better than statement could do (because more picturesquely) at the same time it builds up the scene.
How has the author enriched the main narrative by contrast with lightly suggested situations? (See the Van Ness passages.)
Study the narrative for sounds and odors as well as for pictures. Contribution to vividness of reality? What contrasts do you find in these sense appeals?
How does Miss Hurst make most of her transitions in time and place? Is the double space well used? What is the acting time of the story?
From whose angle of narration is it told? Is there a shift from the objective to the omniscient point of view? If so, is it justified by a gain?