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stephen kern opens the culture of time and space: 1880-1918 (1983), with the claim that ?rom around 1880 to the outbreak of world war one a series of sweeping changes in technology and culture created distinctive new modes of thinking about and experiencing time and space?(1). portions of his study explore the impact of this cultural milieu on a wide range of literary works, including those of joseph conrad, marcel proust, james joyce, oscar wilde, and franz kakfa. while scholars of modernist fiction might be quick to add the names william faulkner and virginia woolf, i would like to suggest a further addition: the intermittently celebrated and ignored ambrose bierce.

the vast majority of bierce? short fiction presents some aspect of time manipulation. the distortions range from the mildly non-linear use of prophecy in stories such as ?he eyes of the panther,?to coincidentally repeating dates in ?he haunted valley?to more complex time distortions involving dead narrators presenting their tales through a medium (?he moonlit road? or by way of a third person reading a diary (?he damned thing?. a complete re-visioning of time schemes is even offered in ?he bubble reputation.?there the narrator establishes that his story takes place at a time when ?lectric lights had not at that period been reinvented,?suggesting that time progression is not linear, but circular (emphasis added, 474).

yet, despite cathy davidson? call for a study of bierce? ?anipulation of subjective and objective time?in her introduction to the 1982 critical essays on ambrose bierce, there have been few comprehensive treatments of bierce? use of temporal manipulation (9). eric solomon? important essay ?he bitterness of battle: ambrose bierce? war fiction?(1963) makes promising strides in this direction, but fails to account for the breadth and depth of bierce? treatment of time. solomon connects bierce? split between subjective and objective time to ?he facts of war, where time is of transcendent importance, yet normally confused, where action may occur incredibly swiftly, or life may consist of tedious waiting?here, in short, time cannot be controlled by the individual?(188).

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bierce? temporal distortions are not just a feature of his war stories. some of his earliest satires, ?shes of the beacon?and ?or the ahkoond,?offer social and cultural parody from a narrative gaze that originates in the years 4930 and 4591 respectively. several opening vignettes in the fiend? delight (1873) introduce many of the temporal themes he would develop in later works?ar stories and supernatural tales alike. in the sections that follow, i explore some of the most frequently occurring manipulations of standard narrative time. the first section examines bierce? use of disjointed chronology to misdirect the reader? attention. the second section explores the use of paused timelines. the third section offers a discussion of the simultaneous expansion and compression of time. in the fourth section of the paper, i study bierce? use of time hubs, nodes in which overlapping temporal moments co-exist. the study concludes with a focus on the symbolic use of watches and timepieces to represent the futility of man? attempts to control or even understand time.

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part time work from home quickbooks

> 1. introduction

2. disjointed chronology: bierce's temporal shell game

3. lives on hold: paused timelines

4. time manipulation: expansion, compression, and irrelevance of time

5. time hubs: intersections of time and space

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6. security in a second hand: the false comforts of time

7. final thoughts: bierce's place in time

8. notes

9. works cited

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