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This essay argues for a wider recognition of The Unvanquished as a short-story cycle and for a new appreciation of its generic features of simultaneous fragmentation and unity. For much of its critical history The Unvanquished was misinterpreted as a short story miscellany or as a bildungsroman. Reading it as a short-story cycle allows an acknowledgment of its inherent tensions and discontinuities without urging a resolution that would elide or eclipse them, as has frequently been criticaldoi:10.1080/0013838x.2018.1519168 fatcat:jl4y4ukk3zbrjgrjk5jn3wgxmq