Posts Tagged: short stories
For the New York Times, Lydia Kiesling reflects on Sara Majka’s debut collection, Cities I’ve Never Lived In:
I assumed right away that I knew exactly what kind of book this would be: a book about arty people with complicated personal lives, who use the word “lover” and contemplate wintry landscapes from lonely trains… But Majka brings the reader to startling places.
Stories are much more unified and coherent. One gesture, one metaphor, one set piece.
For Signature, Jennie Yabroff interviews one of the three “Brooklyn Jonathans,” Jonathan Lethem, on the creation of his latest short story collection, Lucky Alan: his move to Southern California, the assembly of the book, and the editing—oh, the editing....more
Three more anthologies published last year suggest that while the [short] story remains one of our most flexible popular literary forms, and the quickest to absorb signals from the culture, if we’re on the verge of another revolution, the shockwaves haven’t registered yet.
Far from dying out, short stories have become more popular over the last five years. For the New York Times, Paris Review editor Lorin Stein articulates the value of literary solitude in a public world:
You can’t be worrying how you sound.
If rats then represent terror and chickens innocent striving for something approaching authenticity, humans, for Lispector, are strangely in the middle, often stricken with fear, or handing out terror, but ready also to soar or break loose or achieve some freedom or be fully alert to their fate in a time short enough for one of her stories to be enacted.
Are you wandering the plazas of Grenoble, France, looking to spend a few minutes immersed in a story? But unfortunately, you left your Flannery O’Connor novel in the hotel room? No worries—Short Édition has your back. Er, your book. 24 hours a day, the publisher’s new vending machines offer up six hundred short stories, selectable in a unit of one, three, or five minute lengths....more
I sort of just follow the impulse to go there and to sit with an uncomfortable emotion or an uncomfortable physical thing.
In conversation with radio host David Naimon, writer Amelia Gray talks about her new short story collection, Gutshot; strangeness and estrangement; disgust and discomfort; and many other eccentric topics....more
I don’t trust any writer who takes himself seriously. It’s all kind of ridiculous. Our job is to write about humans, and humans are funny.
Over at BOMB Magazine, J.T. Price talks with Rebecca Makkai about her first collection of short stories, Music for Wartime; the overlap of fiction and truth; humor in writing; MFAs; and lots of other writerly topics....more
A preacher cares for his daughter’s child while she has a nervous breakdown in a foreign land. A teenager watches her mother slowly die. Another teen mourns his father, who that summer had been “executed by the state of Florida.”
Kingsley Amis all but disappeared from the American literary consciousness after his death. Many of his novels were not even available stateside after their initial publication, although a new line of reprints is changing that. However, The New Republic asks whether American readers can handle Amis, a masculine, writer-as-worker persona:
With his talk of product and workbenches, Amis is trying to create the image of the writer as an ordinary worker, to dispel art’s associations with foppishness and pretentiousness and self-aggrandizement.
On the other hand, hey, I’m 50. This is the third time I’ve gathered a decade’s stories. Let’s be clear about how much such introspection matters to the reader who’s either aboard or not aboard my “project” by now: likely, not bloody much.
“I hate literature,” wrote Varlam Shalamov in a 1965 letter. “I do not write memoirs; nor do I write short stories.”
Despite his claim, Varlam Shalamov would become one of the most prolific Russian writers, producing 147 short stories about life in the gulag....more