Matthew Groff

(The short story “The Plaza” by Rebecca Makkai appeared in the May 8^th, 2023 issue of The New Yorker.)

(SPOLIERS should be expected, but not intended.)

Sometimes I just want to read a good old-fashioned short story, like from that Post WWII/1950’s period when writers could make a living publishing stories in magazines. These are the stories that are aligned more to the entertaining fair, rather than deep expressions of artistic ambition. Don’t get me wrong, at heart I’m an arty-farty experimental writing guy. Yet, now and then, it is refreshing to read something that came from the period when America was establishing what would become Modern literature.

When I started reading “The Plaza” by Rebecca Makkai, she took me right to that place and era, not only of literature, but of that specific New York City of old. Makkai did a particular perfect job of making The Plaza of her story matches The Plaza that only exists in the fantasy world of American literature and theatre; a playground for the well off, where any desire or request will be met by the concierge, bellhops and maids. And fantasy is correct for this story.

“The Plaza” concerns Margie, who is a local beauty in a small town along the upper Delaware River, who at twenty-three is a waitress at a hotel for men who fish the river on vacation. It is there that she meets Alistair Baldwell, a rich young man from New York City, and his Yale friends who are there for the fishing. Soon, Alistair and Margie are together, and before he leaves, he suggests that she should come to visit him in New York. After some time, she does, and he puts her up in a room at The Plaza, and from there, their lives change, including their names. She becomes Margaret, and he becomes Ally. An unexpected pregnancy complicates the situation, but Ally’s answer is for Margaret to take a suite at The Plaza, which Ally’s company pays for, and they secretly wed. And clearly more happens.

As I said before, this story feels like a complete throw back to what magazine American literature from the Post War period felt like. The sweep, the characters, the vast amount of time covered, and a New York City that feels peacefully wonderful and safe. And this story could exist on that simple homage level, and it would be fine. But what Makkai does expertly here is bring in a delightful undercurrent of allusion and realism. The realism of mounting lies, and the destruction of trust. I also found Margaret’s relationship with her father and brothers painfully honest, giving a clear understand of her motivations in life. But it is the allusion of the fairy tale; a princess locked away in a castle. But also, the feeling of Margaret creating her own fairy tale/fantasy in the world that she finds herself in. All of these pieces swirl together, creating a very textured and entwined story.

In the end, I found “The Plaza” to be an entertaining story, which fooled me into thinking, at first, that it was just an old styled story. Such is the power of a good writer. What is on display is a writer who understands what made those old stories work so well, while still staying modern and fresh with the narrative, which creates something wholly new.