Category: Writing

  • Short Story Review: “One Sun Only” by Camille Bordas

    (The short story “One Sun Only,” by Camille Bordas appeared in the March 7th, 2022 issue of The New Yorker.)

    Having kids is easy, raising kids is hard. And on some days, you screw everything up, and it really sucks. Every time we make a mistake as parents, which is often, the wife and I kid each other that whatever the transgression we just inflicted on our daughter, that it will be the reason she goes into therapy. My mother would joke/not-joke that when I was in therapy, she was getting blamed for everything. Not everything, I would tell her, Dad made a lot of mistakes, too. Kidding each other was a big part of our relationship, and so was making lots of mistakes.

    I identified with “One Sun Only,” by Camille Bordas. It was a story about a middle-aged guy, trying to make it as a writer, dealing with the death of a parent, raising his kids while also making sure his children were coping with the death of their grandparent in a healthy way. (Holy Crap! It’s like this story was written for me!) But also, the story was about the relationship that the grandfather has with his son, and his grandchildren. The grandfather was a famous painter, and art played a big role in his dealings with his family. Of the two grandchildren, the older one, Sally, had the same artistic interest as her grandfather, and thus he showed her the most attention. Though the younger grandchild, Ernest, had the artistic skill, he was not interested in the form, which caused a distance between grandfather and grandson.

    Essentially, this was a story about death, and how different people deal/handle/cope with it. There was another death in the story, a school janitor who had a heart attack and dropped dead in front of Ernest and his classmates in the cafeteria at school, so the theme of the story was driven home pretty hard here. The most authentic parts of this story were the interactions between Ernest and his father, the narrator, especially when Ernest was drawing at the kitchen table toward the end. My only objection to the story was that the children point out how sad their father was, but I never felt the “sadness” was identified, given an example, or even addressed. It was just pointed out, and left at that. See, that stuck in the back of my mind as a red flag. Sally was given ample time to show how she was dealing with the grandfather’s death, and the climax of the story was clearly about Ernest ability to cope, but nothing for the father. The father was seen taking advantage of the money he had inherited, as he had bought a new apartment, and was taking a year off from work to write, but not how he was emotionally handling all of this. I do know that when a trauma occurs, some people make immediate changes in hopes of dealing with the emotions, which I felt was what Bordas was hinting at with the father, but he seemed to be enjoying these changes even though his children said he was “sad.” It’s like one puzzle piece was missing that would have tied all three together in their mourning.

    Also, this was a story about parenting; Both the good and the bad. Pushing your kids, and nurturing them. Tough love and understanding. The grandfather and father were not saints, and their parenting styles were opposite, but not completely wrong. For all the faults of the grandfather, he was using his skill set to raise his son the best he could. And his son was doing the same thing with his children. The story did leave me feeling hopeful for these characters. That they would get to the other side of this, in their own way.

  • Good Old Kurt Vonnegut

    It was a slightly strange weekend. First of all, I was a horrible father, and showed my child a movie, which I thought she would find entertaining, but actually just gave her nightmares. I speak of 1999’s The Mummy, which I thought she’d find fun, and not scary. I mean, this is the same kid that had no issues with any of the Indiana Jones movies’ and their face melting, heart removing, and weird aging/dusting thing. Nope, total miscalculation – Mummies are very scary to seven-year olds.

    So, I’m a shitty dad, or at least that’s how I felt Friday/Saturday night.

    The kid couldn’t sleep in her room alone, so I stayed up with her on the pullout sofa. I was looking for something to watch that would put the kid asleep, but still keep me engaged, and I found a documentary about Kurt Vonnegut on HULU (This is not a movie review) that fit the bill. Though Vonnegut is one of my favorite writers, I really didn’t know anything about his life other that he sold cars at one point, and got divorced.

    After watching the documentary, I had two questions I wished were answered; first, why did Vonnegut choose to move to Barnstable, MA from Schenectady, NY? I get that living on Cape Cod is cool, but did he know someone there, did he vacation in the Cape first, did he read an article about the place? I mean, what was it? Second, how did Vonnegut, who by his own admission was just getting by selling short stories at this time, afford a home on Cape Cod? I am assuming that Cape Cod has always been Cape Cod, which means it has always been in demand, but back in the 50’s, were homes really that big AND inexpensive that an infrequently published, and modestly monetarily successful writer could afford a home? Was his wife supporting him?

    I really feel these questions need to be answered, as I think this is the failure of most biographies; they never explain how an artist paid their bills when they had no money, and still found a way to create.

  • Short Story Review: “So Late in the Day,” by Claire Keegan

    (The short story “So Late in the Day,” by Claire Keegan appeared in the February 28th, 2022 issue of The New Yorker.)

    (And there are SPOILERS!)

    Character study, as a short story format, is one of those “classic” forms that’s taught in school; an analysis or portrayal in literature of the traits of character of an individual – so says Merriam-Webster. I find this form is used in the absence of a plot, as the “climax” of these stories usually is when the reader discovers the reason why the character behaves the way they did in the story.

    That’s what “So Late in the Day” basically is. We meet Cathal at his desk on July 29th, which is a wonderfully perfect weather day. He clearly is avoiding people, and even his boss suggest that he head home early, but Cathal prefers to finish out his day, per normal. After work he takes a bus home, and then the story starts to unfold his romance with Sabine. As this relationship is shared with us, we begin to see the faults in his character. When they decide to get married, and Sabine moves in with Cathal, we see his misogyny on display, which is also registered by Sabine. Then the reveal comes, and it turns out that July 29th was to have been their wedding day, which now has clearly been called off.

    Keegan’s writing is fine, and engaging. I found the character believable, and could see why they were attracted to each other, but the story still left me with the feeling that something was missing. I felt like the story wasn’t clear on what its intentions were for the reader. As a character study, it fit the mold – dude’s a misogynist, hence why his girl leaves. But, what are we supposed to feel about that? I don’t think the intention was to feel sorry for Cathal. He is upset with the situation he is in, but I don’t think he learned his lesson, which implies that this behavior will repeat. That’s unsatisfying. But, with Cathal being the focus, I feel that the intention was that Cathal should understand his responsibility in creating the situation that he is in, but I didn’t find that through line in the story. What I found was that Cathal wasn’t a good guy, but he wasn’t a bad one either. It was ambiguity, and that’s a tough one to end on for a character study.

    (Say, don’t forget to like this post, or share it, or leave a comment. I got bills to pay, you know.)

  • Don’t Be a Chicken Shit

    Writer’s groups got brought up again.

    I have a great wife, and she was asking how my writing was going. I said the blog was fine, that I had submitted a story to five different publications, and writing at the library was paying off, as I was getting close to finishing a first draft on a new story. Also, I was finally making time to read again, which was making me feel better about everything.

    Then she asked me about if I had thought anymore about joining a writer’s group. I answered her honestly; I don’t want to.

    I know where she’s coming from, and it is very logical. All of our friends who are professional writers belong to, or run, writer’s groups. They all speak highly about it, and say it has helped them not only with their writing, but also with navigating the business. That and they have made some really good friends in these groups, as well.

    But I still don’t want to.

    Am I being illogical and stubborn? Most likely, yes.

    I am torn between two different thoughts, though.

    The first is that I no longer want to do things for my career that make me feel uncomfortable. See, when I got to New York, I went to everything – opening nights, parties, rehearsals, talks, feedbacks, open classes, and none of it ever helped me. What worked for me, was working hard when I got the job. But if I were to do this, join a group, then that means that I have to put myself out there. I might just be a little chicken shit about that.

    The second thought is that what I am presently doing isn’t working. Right now, I am an unpublished writer who posts a daily blog that if I am really REALLY lucky, four people will read. Come July, I have been doing this for two years, and… not much has really changed. BUT, I feel good about myself, and that’s worth something.

    So, I’m torn. Not sure what to do.

    I prefer the idea of just putting my head down and working hard. But the other one is putting myself out there.

    Balance. I have to find a balance between the two.

    Yuck

  • Short Story Review: “Annunciation” by Lauren Groff

    (The short Story “Annunciation,” by Lauren Groff appeared in the February 14th & 21st, 2022 issue of The New Yorker.)

    First of all, I am not related to Lauren Groff. Second, this is the first short story by her that I have read. And it was a good one to start with. From the first paragraph, I felt like I was on a journey, and was being guided by a person who knew how to unfold a story. If you haven’t pieced it together, I liked this story, and I am suggesting that you should read it. For that reason, I will forgo a synopsis of the piece, and give my reflections on it.

    Lauren Groff crafted a well-made short story. As it unfolded, I didn’t know where I was being taken, but after I finished, I could see the structure that held the story up. The opening, narrator development, introduction of characters, seemingly random incidents, rising action, climax, resolution, and even a denouement, which not too long ago I was complaining about the use of denouement in short stories. I mean, the title tied in to the denouement, as well. But the structure wasn’t the only admirable quality of the story.

    What I loved reading was about this narrator who was not perfect, who did struggle, and was still struggling. A person who had these moments, anecdotes even, that represented the life she led, and she still found herself thinking of these people, and the mysteries that never will be solved. And, this was a personal favorite of mine, the narrator was literary person without being a writer character. I fully believed that she was introspective, empathetic, and aware of the small details of the world she inhabited.

    But it was the theme, the through line, of motherhood that ran through the story that impressed me. Though I didn’t catch it as I was reading it, the denouement captured, and focused the theme for me. It made me reevaluate each of the women in the story, their form of motherhood, and how they are viewed or appreciated by their children for what they do, or have done for them. This theme of motherhood didn’t fit neatly in a box, meaning that I didn’t feel the story was trying to say motherhood is “this way.” Mothers are all over the map; good, bad, wonderful, awful, secretive, open, all different and yet the same, somehow. And for some, motherhood takes a toll.

    That makes the story sound dark or overtly complex, but I found myself optimistic, and hopeful at the end of the story. Lauren Groff created a journey in this story, so we all came out on the other side different from this experience. I liked the world that this story is in, and the characters who inhabit it. Stories like this leave me feeling inspired; that short stories can express truths, and have weight. That they are worth reading and creating.