Archives for posts with tag: Short Story

“Citizen Conn” is about partnerships. The narrator is partnered doubly, to her academic husband David and to God through her work as a rabbi, and it becomes her project to heal the partnership of two old men, Artie Conn and Morty Feather: two comics legends whose early collaborative work grew into something hugely popular and became the foundation of a whole publishing company. There was money involved, and Artie signed away some of those rights for a large lump sum, but the betrayal runs deeper.

The rabbi is employed by a sort of hospice, and I kind of love her. She’s sure of her work, her abilities to give comfort and spiritual solace to the dying, and she is certainly up for the continual trials of revelation that dealing with people in pain entail. But she also recognizes her limitations, and she waivers between the feeling of being called to her vocation and her own human weaknesses, when communication breaks down, or when she feels burdened by her feelings or sadness or irritation.

It’s no secret that Chabon is a master of long sentences, that he can pack a whole universe into a few linked clauses. But they move quickly and they never lose you in their vastness. Because this story is told from the rabbi’s perspective, it is also littered with comments on the one of the central questions of the faith, being of course ‘what is it to be a Jew?’ Rabbi observes: “Aged Jews tend to shrug with practiced eloquence, expressing subtle fluctuations in the nature of their doubt.” Doubt and miscommunication and faithfulness are at the centre of the larger Venn diagram of the partnerships explored in “Citizen Conn”, with having both love and the knowledge that you are loving always an unknowable thing, because that’s part of what it means to be with other people,  or even with God.

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I read this story in this week’s issue of The New Yorker.

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Junot Diaz’s “How to Date” is written in the second person, but like most successful second person stories, that tricky little ‘you’ is anything but general. You, in this case, are a young man living in America. You’re from the Dominican Republic. Some of your family still lives there, and you take  the photographs of shirtless young cousins leading goats around off of the walls of the crummy apartment you live in when you’re expecting to host a girl. You are also totally girl crazy, or maybe just crazy in general, because you’re a teenager. Because of who you are and where you live you’re a little fucked up by racism, by poverty, and by the way that desire is so often tied to big things outside of what it is you want. Mostly, you just want to bang, but even that’s imbricated within a larger social structure.

I like Diaz, and he’s so good with this story. The details feel so right, hiding the government supplied foodstuffs so your date wont know the extent of your poverty, the awkwardness of making conversation, experimenting with boundaries and social roles… they just feel right. But the story is painful, too, because it’s not just about being girl crazy, it’s about negotiating the complexities of race, and about the hierarchy of racialized desires, about stereotypes and sounding ‘smooth’ when the person you want to snuggle up to is categorically collapsing you. But now I’ve made it sound heavy, and parts of “How to Date” are, but it’s also fun and sweet! In that respect, it’s a lot like adolescence itself.

One of the things I like about twitter is that it feels just a little like eavesdropping. You can see people talking to each other, and while it’s true that some tweets are a little more banal than others, it’s still fun to piece together your impression of a person, or more rarely, corporate entity, through the short and sometimes jumbled tweets they release into the world. I’m obviously not alone in this fascination.

A couple months ago, Jim Hanas, in collaboration with @storyvilleapp published a multistranded short story, “@M1racleM0m”, on Twitter. The story is about a woman, a mother of genetically mutated fraternal twins, and her paronoia about her pot smoking neighbor. It’s a little weird, and it feels really voyeuristic to read @M1racleM0m‘s tweets interrupting the story that the neighbor is telling. I was lucky enough to read this story live, as it was being published, which was pretty exciting, this little fiction exploding in my tweet stream.

The story itself is compelling, more about the interaction between the characters than about an event or plot per se. It’s kind of about the medium, too, in a roundabout way, that we can broadcast our acts of micro surveillance and neighborly aggression. It’s also a welcome experiment with fictionalizing social media, those devices we use to tell our stories. I’m into it.

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Photo sourced from the story itself, which you can read here.

AM Homes’s  “A Real Doll”  is powerful, playful, and a little dark. This might be the story I’ve re-read the most in my life, because it’s the best piece of writing I’ve ever read on burgeoning adolescent sexuality, the dangerously rigid confines of commercially defined gender binaryism, the exciting wilderness of negotiation during those first few tentative steps toward sexual relationships, and the way that the mediated cliches of love and attraction make it difficult to feel the things you want to feel.

The story unfolds in the voice of an unnamed young man, who falls into something that seems to approximate love with his younger sister’s barbie doll. Homes’s prose is engaging and funny, and the story of this  boy-on-Barbie fling is totally captivating for it’s sheer fuckedupitude. But it’s tricky, because it’s not actually shocking, that a person would confuse plastic for the pleasure of the flesh.  Sex is one of the only arenas of adult life that allows for real play, for trying on stories and identities and tying your imagination to your body. Because Homes’s narrator is right on the cusp of adulthood the posturing he does is a little more anxiously free, outside of the implied boundaries of the adult world between the bedroom  and everywhere else. His footing is made even more unsure by the socially constructed world of desire, of men and women and boys and girls, and of course that his feelings are wrapped up in a literalness of the phrase ‘object of his desire.’

“A Real Doll” is so full of detail and expertly used syntactical contradiction that I feel a bit guilty for talking about the themes of this one instead of just gushing over the humour and dark warmth of Homes’s craft in this story. It’s a blessing and a curse that this story is so good because I just want to keep reading it over and over.

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You can read “A Real Doll” in the Barcelona Review here.

Photograph borrowed from the Flickr account of Keven Fredirko.

I felt like I wouldn’t really like this Aurelie Sheehan story, “Recognition”, in the latest dispatch from Guernica. But I did!

Reasons I thought I wouldn’t like it:

1. It’s literally compiled of false starts, which struck me as a little gimmicky before I read it.

2. It’s about a woman trying to get a fellowship so that she can write. And fiction about writers can sometimes be a little much. I’d actually never read a story expressly about trying to get a writing fellowship or grant, but I assumed I wouldn’t like it because, well, it’s a peculiarly and narrowly unglamorous premise.

3. I thought that because it referenced the process of applying for a fellowship it would be exclusionary and, um, MFA-y. Not that that’s so bad, but I’m very conflicted about the role of the MFA program, of academic models in general,  in literature. I’ll tell you about it some time.

Reasons I liked it a lot:

1. The gimmick dissolves under the surprising strength of the language Sheehan uses. There is an internal wavering, and near-repetitions in each of the false starts. These repeititive re-workings are a view on the conflict between the desire to create art and the need to have not only the art but your desire itself meet with recognition.

2. The core metaphor involves the book that the narrator wants to write, a fiction book full of novelistic and life like truth!, the one she needs the fellowship for, being actually a box. But it’s not that she’s actually engaging in conceptual writing, here, she’s not literally making a box, it’s not quite that formal. The narrator is obsessed with containing truth and life in words, boxing in details and experiences, and pinning down ephemera. She’s trying to figure out a structure for that could actually distill life into a solid  and knowable thing. The false starts really speak to the absurdity of this tortuous and necessary desire in the artist, in the writer, looking to get a little something to stay put on the page.

3. The last false start, where things kind of cohere for our narrator, is so lovely and rewarding after you’ve seen the wavering, the agony over form, the insecurities bound up in asking for money and time. While the whole thing is a successful short story, this is the part that gets close to our narrator’s purpoted aims, solidifying a feeling and a tone with words. Gorgeous.

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You can read “Recognitions” here. I borrowed the photo above from Guernica, who in turn borrowed it from Flickr user Grievous Angel. I’m still working out how I wanna do images for the Thursday stories.

We So Seldom Look on Love, Emily M. Keeler, Bookside Table

How come no one told me to read Babara Gowdy before now?

This story, oh God, this story. So, the narrator is a woman who gets off on cadavers, and death. She’s a necrophile, and it’s about the joy of extremes, heat and chill, life and death, and the primacy of blood as a thing that signifies both beginnings and ends, as a real thing that’s inside of us and inside of others, blood as intimacy–as elemental and animal and private and desirable.

While the subject matter may be affecting enough as it is, the little twists and structuring of “We so Seldom Look on Love” make this story into a small dark space, all weird angles and corners. The narrator reminds you occasionally that she’s pretty, blonde and everything, and that only dead men can break her heart. She talks to you like someone trying real hard to control what they reveal, but is too unsure of where they are on the sliding scale of human being<—->monster that she’s got to back track and defend and try to figure out how to tell her personal truth in a way that will be exactly the one and only way to tell you about it without you getting all freaked out and crying out ‘Oh god you’re a monster.’ That Gowdy could pull off this slippery feat is totally mind blowing. That I found myself oscillating between disgust and recognition probably says more about me than about this story. Oh God, this story.

She talks about her childhood fascination with dead things, and the scene that describes the moment of her menarche is absurdly powerful. Of course, here’s blood again, here made into that womanly thing, that potential to bear yet more life inside of your body. It happens to her while she’s whipped up into a fever over a dead thing, a chipmunk, and she’s been howling and dancing and rubbing the small dead animal all over her body, and she gets covered in blood, but it’s hers, this first time, this first time it’s her blood, and it’s extreme and compelling because what other way can you possibly describe the obsession, the compulsion, to be wild in your body and so morbid in your desire?

Oh God, this story.

It was while I was going through my Emily Dickinson phase a few years ago that I first clued into the womanliness of the house and the garden in literature. These are domestic, private and semi-private places,  and as such have been part of the psychic landscape of a certain kind of womanhood for some time. Francine Prose wrote, in a 1998 issue of Harper’s, that perhaps some of the trouble with reading and critically evaluating  woman writers is that we as a culture are still learning how to read the metaphorical significance of the house, of the garden, where we’ve long been able to understand the deeper meaning of metaphors drawn from the traditionally masculine experiences of battles, boyhood, and quests.

Which is why I’m interested in what Amanda Ackerman is doing in the her story “Weed Course,” from the most recent issue of Incongruous Quarterly.The story is pretty inventive in its structure, incorporating a questionnaire and a multistranded narrative. The questionnaire, part of which appears above, asks some pretty leading questions, but it’s unclear exactly where the narrator is leading you.  “Weed Course” is about the tension between the love of growth and the need for death, about killing weeds to the root. There are two beginnings to the story, one where the reader is told the “[l]ocation from which this story is being told: Gardens. Domestic, Public, Professional and Otherwise (e.g. forests, library stacks, courts, airplanes of all kinds)” and one that exhorts the reader to “Beware of what I am afraid to say.” What a way to start a tale, instructing us to read between the lines, to tease fear out of this “expert gardener (killer, grower).”

Ackerman is playing with the idea of the garden as a place of personal development, which is complicated in that the garden is an exterior place. While the garden as metaphor remains womanly, there are some things about womanliness that have changed since Dickinson, since Prose’s essay from nearly 15 years ago. The garden too has changed.  Throughout “Weed Course” Ackerman repeats the phrase “what I really want to say is” and the effect is a subtle invocation of the intellectual and emotional struggle of trying to discern and express your desires when you’re coming from a place of contradiction. And of course, when we say something we’re trying to build a bridge, we’re trying to connect. The wavering in this story reflects the constant doubling back, the shadowy fear that accompanies intimacy. How much growth and how much killing? What kind of bridge do you want to build, when it’s the thing taking you to another person? Where’s the balance when privacy is eroded while alienation becomes steadily reinforced? Should a garden be a thing of beauty, should a life, should a woman be a thing of beauty, when there’s just so much killing involved?

Emily M Keeler , Bookside Table, The Paris Review

Clarice Lispector’s “A Story of Great Love,” translated here from Portuguese by Rachel Klein, is about a young girl who loves chickens. It’s about love as an obsessive and one-sided thing.

This very short story describes the relationship that a young girl develops with two hens, how they sustain her and give meaning to her life, how she smells beneath their wings to see if they are sick, and how her love for the birds is bigger than what she can possibly know about them: “The girl did not yet understand that it’s impossible to cure humans of being humans and hens of being hens, insofar as a human, like a hen, has miseries and splendors (the hen’s consist of laying a perfectly shaped white egg) inherent to its species.” It’s a lonely thing, this early and deluded love, and when it comes time for her family to eat one of these chickens the girl rages at her father for liking the taste of chicken flesh. Her mother makes it a little better by telling her how eating the hen is a way for humans to show respect, even love, for the animal. By making it a part of your body, you elevate the loved one, you commune with it when you take it inside you.

That this piece of advice comes toward the end of the story, and as something handed down from mother to daughter makes strange the power of feminine love. The hens are incapable of loving the girl, of loving in any human manner, and so the feeling can only ever rest with the girl; the ability to literally incorporate the body of her loved one into her own, to love with a bodily and an emotional interiority constitutes the height of this early suffering, this early love. The point Lispector may be grinding here is the loneliness, the solipsism and consumption, of that feeling that occasionally destroys us. Love.

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This story is one of two that appeared in this Winter’s Paris Review. The other one, “One Hundred Years of Forgiveness” is available online.