Abstract
This article investigates the usefulness of new formalist terminology for the study of integrated short fiction volumes. It adopts a case-study design: I take Janice Galloway’s short story composite Jellyfish ([2015] 2019) as an example because the author experiments with new ways of writing, arranging and presenting short fiction in this volume. I explore how Caroline Levine’s broad understanding of two forms (networks and rhythms) and their affordances can be brought together with different positions in short story criticism. Particular consideration shall be given to Rolf Lundén’s conceptualization of the characteristic tension between the short story composite as a whole and its component parts. In short, the article analyses the complex networks and rhythms which give structure to Jellyfish.
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