Category: Short Story Review

  • Short Story Review: “ProCess” by Abigail E. Myers

    (The short story “ProCess” by Abigail E. Myers appeared on September 26th, 2023 in Rejection Letters.)

    image: MM Kaufman

    I remember how when I was a kid, I was told in school that technology, someday, would solve all our problems, thus making the world a better and perfect place. My dad, when he was a kid in the 50’s, was told how there would be flying cars in 1980. Yeah, that never happened, but we sure did get loads of new tech which has changed the world – just no flying cars. Sometimes I think the real role of technology is to create new problems while solving old problems. The things that annoy us, will still annoy us, just not as much.

    I feel that was the starting point with “ProCess” by Abigail E. Myers, a tight, efficient and humorous flash fiction piece in the form of a rejection letter. The rejection letter is from the App Store, informing the developer that their new app, “ProCess: The App for Funeral Processions” will not be accepted, with a suggestion of next steps for the developer.

    What I enjoyed most with Myer’s piece was its full commitment to the flash form. Yes, the work is short, but this isn’t a short-short story; This isn’t an uber-condensed form of a hero cycle, or a quick character study. This is flash fiction in the form I like to see; quirky, unconventional, but a story that still moves from a starting point to an ending point, firmly rooted in honesty.

    The quirkiness is apparent by this app for funeral processions, and it’s unconventional in the form of a rejection letter, but what I was most impressed with was how Myer’s moved the story forward. The building and movement of the piece is accomplished in the three bullet points which use syntax and formatting of the text to accomplish this goal. The first point is formatted normally with no additions, but in the second point, italicized letters are used to highlight the developers thoughts. By the third point, the italicized and normal formatting seems to have been reversed, implying an urgency and irratition toward the situation. It’s an effective choice that I didn’t notice on my first reading, but I felt its implication immediately. It causes the narrative to move towards a conclusion, which is the app store stating, “all must yield.”

    I admit that I am thinking very hard about a very short flash fiction piece. Yet, when someone accomplish the feat of executing a very good story, in what I think is a great example of what makes flash fiction an original form of literature, it should be applauded. “ProCess” makes its point on how some situations cannot be avoided, even with technology, and that’s just life. A complete, honest thought, that rings true.

  • Short Story Review: “The Narrow Way” by Liliana Colanzi (Translated from Spanish by Chris Andrews.)

    (The short story “The Narrow Way” by Liliana Colanzi appeared in the September 25th, 2023 issue of The New Yorker.)

    (Do I even need to say SPOILERS?)

    Photograph by William Mebane for The New Yorker

    Liliana Colanzi pretty much nails it in the first four paragraphs of her story “The Narrow Way.” We come to understand that the Devil is real to these characters, that the Reverend holds power over this community, that the protagonist and her sister have an uncomfortable close relationship, and if you leave this community then you leave for good. Everything that follows in this engrossing story relates back to these four paragraphs, thus creating a structure for this world to exist in, leaving us to see how these characters function in it. This set up, which is what it is, was handled so subtly and with a lite touch, that jaded me didn’t pick up on it until I reached the end of the story.

    There were many aspects that I enjoyed in this piece, but I really want to look at the format/structure that Colanzi used to accomplish her story. First was making the reader slightly uncomfortable with the sisters game of “cows and calves” in the third paragraph – somethings not right with these people as they don’t seem innocent, but ignorant to the changes that are happening to them. Clearly the children of the colony are maturing into puberty, but without any guidance due to the “narrow way” that their religion demands, they go blindly forward, stumbling into these changes. And then with the fourth paragraph, we know that this “colony” is a place of repression and control. Everything that follows next in the story is filtered through these two notions, making the rest of the narrative always feel uneasy, and with a threat of violence. As the story unfolds with each new section, this ignorance and violence continue to be heightened, building to the climax.

    And if one criticism must be laid on this story, it is the climax. When I was first reading the story, I was caught up with the narrative, the language, tone, mood, all of it, so the climax felt correct. When I thought back on the story, it became clear that there were only really two outcomes for this story; escape, or death. The idea that this colony would be destroyed or overthrown by its residents is never entertained by any of its characters, so it never was a narrative option to begin with. I understand that escape and death were foreshadowed by Colanzi from the relative start of the story, but… When you tell a story about repression, isn’t the release into freedom, either through escaping or death, the only stratifying options on the table?

    That having been said, “The Narrow Way” is a very good story – built well, written well, and encompassing a very specific world. This is not a place I want to live, as it’s a repressive and disquieting environment. Yet, there is a very honest humanity in this story that is compelling, and makes one yearn for people to be free.

  • Short Story Review: “On the Agenda” by Lore Segal

    (The short story “On the Agenda” by Lore Segal appeared in the September 18th, 2023 issue of The New Yorker.)

    Illustration by Riccardo Vecchio

    “On the Agenda” by Lore Segal is an interesting exercise. I read it twice, enjoyed it both times, but I’m still wondering about the ending. Each time I read it, and I can’t put my finger on why, or where the example is in the story, but I kept thinking about French Absurdist one-act theatre. (I was a theatre major, I read a lot of their works.) Something about this story seemed to parallel that. This story isn’t blatantly absurdist. It does have a foot in reality, but there is something off, which works.

    The story is about ladies who lunch, but not the Sondheim “ladies.” The story of these ladies is broken up into sections; the first being “JANUARY: THE FORGETTING OLYMPICS,” which also happens to be an agenda item for the meeting of the ladies. What if forgetting was an Olympic sport? And the ladies give examples of their forgetting, comparing, and expanding this idea. At this point, the story could be about aging. But with the next section “MARCH: NEXT TO GODLINESS” and “JUNE: FUNK” we are given examples of the ladies friendship, and how they are dealing with their forgetting. And again, it all feels purposefully off center, ever so slightly. But when the final section comes along, “NOVEMBER: NO MORE TRAINS” which is broken up into three sections, with the last being the one I questioned the most – It’s a single paragraph with no dialogue, which is different and shorter than all other sections of the whole story. This paragraph thuds the story to a close, help with a rhetorical last question “For now?”

    From the way the story started with that absurdist feeling I had while reading, I never was expecting this to be a story that would wrap up cleanly, or even conclusively for that matter.  But that last paragraph is completely and radically different from the rest of the story – what was the point? Then I remembered the French Absurdists, who sometimes made the point of not having a point, and just ending things.

    Or it’s about death?

    I’m going with death.

  • Short Story Review: “Hobbies” by Robbie Herbst

    (The short story “Hobbies” by Robbie Herbst appeared in X-R-A-Y on August 30th.)

    (SPOILERS, people! SPOILERS!)

    Art by Bri Chapman

    There sure are a great number of short stories and novels that cover the subject matter of the male midlife crisis. Or, as a friend calls them, “Sorry your penis stopped working, stories.” In one way or another, midlife crisis stories are about virility; the lack of it, the fear of losing it, of losing it, or desperately keeping it. And it is an attractive cliché to work with, as it is soaked in drama due to impending change, and can lend itself to comedy or drama, or a little of both.

    “Hobbies” by Robbie Herbst is just a short story that could have taken a turn down the midlife crisis trope. In fact, I kept expecting that it would, but it didn’t, and that was a completely refreshing development. In fact, the whole story is told in this realist yet absurdist style; claiming to be neither, but clearly dabbling a toe in both. In this way, the story stays lite, but also rooted in an honesty.

    The protagonist is a man sliding into a transition. The story opens with a mysterious letter from a woman named Therese that the he does not know, and rather than share the letter with his wife, he burns it, thus keeping it a secret. As we learn more about him, we see that he is a good person, with two good kids, happily married, with a good job, living a good life. But that night he wakes up having no idea who he is, but slowly, the details of his being return to him. This moment starts his journey to see if he is missing something. This is the fear of losing virility. Or maybe relevance. Either way, the hero is in a place of security and yet feels incomplete.

    And what follows is the breaking of the midlife crisis cliché. Here, the marriage is still fine, the kids are okay, and the job is fine. Yet, there is a threat that looms over him and the family – something that has to be prepared for. It’s not identified, nor does it need to be, as it is a fear that takes the form of whatever it needs to be for each person. But our hero keeps making choices, figuring out what he needs to do to confront whatever is coming.

    This was a smart story, and also very funny. Herbst is very good at keeping the story moving, throwing in details, and never letting the narrative get bogged down. But most of all, “Hobbies” took what I thought would be cliched, and gave it a twist and an insight that I wasn’t expecting.

  • Personal Review: The Great British Bake-Off

    I did it – Well, the wife and I did it – We watched all 13 seasons of The Great British Bake-Off, or Show, depending on where you are. That was a lot of baking, and a lot of British culture. We watched the show together on our lunch breaks, so we only got about half an episode done a day. The show has ebbed, and flowed several times, and gone from too serious to too silly a few times as well. In the end, I still enjoy the show, and I will be looking forward to the 14th season which should premiere in September 2023.

    To start with, the first two seasons of Bake-Off are awful, and no offense to the winners, are a slog to get through. The show that became the international hit hadn’t figured out its footing, nor it’s direction yet. It over all feels very American, as conflict is played up more, and it’s also a sort of an educational show – teaching the audience the history of the foods that are being baked. What I did find interesting is that they seemed to have nailed the music from the start, and pretty much have been using the same themes ever since. Luckily, after two seasons of feeling it out, they landed on what worked.

    What worked well, and is very refreshing, is that Bake-Off is still the nicest show on television. For what is basically a reality gameshow, the competitive nature of the contestants are playdown, and good sportsmanship is played up. The bakers are often shown coming to each other’s aid, and cheering each other on when they do well. There are no snide comments, or backhanded compliments displayed. All the bakers are given an opportunity to be shown as decent, friendly people that you enjoy spending time with.

    And that brings me to what makes the show so enjoyable season after season – the bakers. Bake-Off doesn’t go into detail about the bakers lives outside of the tent. Small details are given in the first few episodes, and the final, but outside of that, we are left to form our opinions about the bakers based on their bakes, and how they behave in the tent. There are no political discussions, nothing about sports or religion. Any subject matter that could divide people is avoided. We get twelve people who just want to bake. And for that, I am impressed with the casting of this show. Not only have the producers continually found charming and interesting people season after season, but they have also done an excellent job of showing Britain as a modern multi-cultural society, where everyone gets along and respects each other. In it’s very subtle way, this show whispers in our ear that we actually do have more in common than what divides us.

    Looking back at the UK ratings, Season 7 was their all-time high, with Season 6 being the runner up, which makes sense as Bake-Off was in the middle of their “salad days” at this point. I would argue that if you are going start watching the show, Season 5 to 9 is the run you want to partake in. This is especially impressive as starting with Season 8, the show undertook a radical change with the switching of broadcast channels, losing Mary Berry who was replaced with Prue Leith, and then the hosts Mel and Sue were replaced with Noel and Sandi. What could have been a stumble instead was a seamless continuation of the show.

    And with that switch in judge and hosts, I am torn. For one, though I do enjoy Prue as judge along with Paul Hollywood, they seem to be a team that “gets along” with respect of judging bakes. Mary Berry had a steeliness to her, where she had no issue with disagreeing with Paul, and digging in if he disagreed with her. It was the only time in the show where there could be tension between personalities, and it worked for the show. As for the hosts, I wasn’t a fan of Mel and Sue. They are two very funny comedians outside of the show, but in the tent they often pulled attention away from the bakers and the bakes by trying to be funny, or ending everything with a pun or a button. My preferred team was Noel and Sandi, but Sandi especially. They made a good “odd couple” paring, but what made them work was Sandi connection to the bakers. She came across more as a friend than a host as when she would talk bakers down from a cliff, or encourage them to continue on. And when Sandi had to announce who wouldn’t be coming back next week, and she would get choked up and cry, it felt like that was coming from an honest place in her. Noel did come around to Sandi’s level of connection, but when she left after Season 10, her replacement of Matt had rather big shoes to fill, no pun intended. What had worked in the past was the classic comedy pairing of straight man and wild card, but with Matt and Noel it was two wildcards which pulled attention away from the bakers. And Matt relied quite heavily on “Paul’s a mean guy” jokes. Entering Season 14, we will get a new co-host in Alison Hammond, and we’ll see how her and Noel get on.

    But when you go through thirteen seasons, you do start to see where some things have gone slightly off the rails. I point directly at Season 9, which also happens to be my personal favorite season. This was the moment when the show started moving toward more gimmick baking – just crazy shit to see how the bakers handle it. This was the season that had a biscuit chandelier which a baker pointed out wasn’t a thing, and made up for the show. Also, in the final episode, the three bakers had to “bake” on a camp fire outside of the tent. A stunt that has never been repeated, and for clear reasons as the bakers didn’t do well, and their annoyance was clearly visible. In earlier seasons, the bakers were asked to create bakes that were based on actually oven bakes, or techniques that revolved around baking. After Season 9, more and more gimmicks or “theme” weeks came into play, which didn’t add anything to the show. This finally blew up in the shows face with Season 13’s “Mexican Week,” which Tejal Rao criticized as “casually racist,” while I was confused why the bakers were making “tack-o’s?” It was a misstep on a show that should have known better.

    What I hope will happen in Season 14 is that Bake-Off sticks to what works, which is casting interesting people from the UK who love baking. And I also hope they get back to what has worked; letting the bakers bake – no more gimmicks. Because at the end of the day, what I look forward to in Bake-Off is an hour of comfort food television; I don’t have to think too hard, there is no one to root against, and I get the celebrate someone who is good at what they do.