“According to [Henry] James, a short story was the analysis of a situation, the psychological phenomena of a group of men and women at an interesting moment. Given two, three, four different temperaments, bring them into a certain situation, and what would be the action and reaction? The story was a problem to be solved. Little was to be said about the characters: they were to reveal themselves, gradually, slowly as they do in actual life, by long continued dialogue, by little unconscious actions and reactions, by personal peculiarities in dress, manners, movement, revealed by a thousand subtle hints, descriptive touches, insinuations. Under such conditions the movement of the story must be slow: in some of his work there seems to be no story at all, only the analysis of a situation. The method requires space: James has stretched the length of the short story to its extreme…. Twenty-eight of the one hundred and three stories in Henry James’s final list are long enough to appear as volumes. Yet one may not doubt they are short stories: they are each of them the presentation of a single situation and they leave each of them a unity of impression.” — Fred Lewis Pattee (from The Cambridge History of English and American Literature, Vol. XVI, Book III, Part VI., Sec. 9 (emphasis in original))