Tag: #Fiction

  • Short Story Review: “Intimacy” by Ayşegül Savaş.

    (The short story “Intimacy” by Ayşegül Savaş appeared in the October 20th, 2025 issue of The New Yorker.)

    Photograph by Elinor Carucci

    “Intimacy” by Ayşegül Savaş has been sitting with me for a couple of days now. I’ve read it three times, and I am still mulling over the construction of it, the theme, the use of language, and the lack of it as well. I keep thinking that there is a simplicity to this story, but that is just an illusion to its complexity. I want to believe that I would never behave like the protagonist, but honestly, I completely behave like the protagonist. Savaş uses the normal short story tricks; foreshadowing in the first paragraph, use of the rule of three, and uses the death of a character as the climax. But Savaş uses these tricks, and a few others, is such ingenious ways, that this story feels fresh, and left me wondering, and I mean this in an intriguing positive way, what is going to happen next?

    To describe the plot I feel is rather a meaningless exercise as it won’t get to the heart of what makes this a compelling story. Here goes anyway: In an unnamed city, there is a group of expats from an unnamed country. The groups tries to support each other in adjusting to life in this new city, and to that end our narrator, who is a published writer, is connected with an older and very successful writer from the same expat group. They have lunch together. The lunch goes well, and eventually the older writer brings his wife to a lunch and the narrator and wife hit it off. Then the narrator and the wife go out and have a picnic together which also goes well, but the narrator drops returning text messages from the wife. One reason is that the narrator’s very young daughter breaks her clavicle. Through a dinner party later in the story, the narrator learns that the writers wife is ill. And maybe that’s a good place to stop.

    Through the story I kept wrestling with what to make of the narrator. On one hand, I was perplexed by some of her decisions, but on the other hand, I had to admit I have made the same choices that she does. Such as when talking to the writer about traveling back to their home country, she omits telling him how her children cried and complained wherever they went, but made it sound like the trip was ideal. Not exactly a lie, but also not the truth. In another example, she doesn’t inform the daycare of her child’s fussiness which could help explain when the kid’s accident occurred. Her reasons for the omissions are understandable, but in another light of perspective, she could be viewed as manipulative. These are but two examples the narrator makes that left me with a feeling of ambiguity, which played well into the theme of this story.

    Then there was the use of language. As I alluded to before in the description, virtually everything is left unnamed. No cities, countries, locations, and especially proper names. Only two are used, and they are deliver deliberately to have the perfect impact on the story. Not only do the name reveals play into the theme of intimacy, but it also ties back into the motivations of the narrator. Why does she choose to reveal them at that time and in that manner? Furthermore, the language is smart, direct, cutting, but also vacant and void of a deeper meaning or connection. The narrator’s word choice appears to be open, but they are a defense, keeping people away.

    Through all of this, I have been chewing on the theme of “Intimacy.” What is Savaş trying to say about how people open up, and close themselves off? The narrator mentions a husband, and how they cooperate to take care of their children, and work, but she never shares any feelings about him. It’s never expressed that there is an issue between them, but then why is his name never shared with us? Most importantly, the wife of the writer makes efforts to connect with the narrator, which the narrator ignores. The narrator only changes her attitude when she find out the wife is ill. A rather shallow reaction, made worse by the narrator using her daughter’s injury as the explanation/excuse for the ghosting. Most people share themselves to form connections, but do some people share out of guilt? Sharing enough to stay relevant while still distant?

    “Intimacy” is my favorite type of story; one that I read over and over to discover more details and motivations, which enriches the story further. I keep thinking that I should be annoyed and disappointed with the narrator but I find her failings makes this character all the more human and believable. This story wonderfully confounds me. But so do most of the people I love. And they might say the same thing about me.

  • ODDS and ENDS: Don’t Answer, Fandom, and City’s Full

    ODDS and ENDS: Don’t Answer, Fandom, and City’s Full

    (Throw out your frown…)

    So, I was sitting in my car this morning because I needed to move it for the street sweeper, and my phone rang with a number that I didn’t recognize. I think I’m like most people and I don’t answer calls to numbers I don’t know. If it’s important, they’ll leave a message and I’ll call them back. But this morning, the number kept calling me, and didn’t leave a message. I mean, I’m pretty sure it was a spam/bot call and no big deal, yet there is still part of me that gets a little rush of anxiety when a call keeps calling. Like, if they keep calling it must be important. It has to be important if they called three times. This must be the most important call, because they called three times from Miami! But didn’t leave a message. That’s why I don’t answer.

    I stayed up and watched the Cowboys play the Eagles. Actually, I watched until the weather delay, and at that point I called it. I was hoping that the Cowboys would win, but I wasn’t totally surprised that they lost. At the breakfast table this morning, the kid had questions about who won the game, which I found rather surprising. Normally, she doesn’t care about the Cowboys or football in general, but she was rather curious about the game, and if I watched it all. Then she wanted to know if I thought the Cowboys would win the Super Bowl, which I told her no, and that the team would be lucky to be above .500 this year. Then she wanted to know if I as going to watch all of their games, which I am. She was confused by this, and wanted to know why I was going to watch them if I thought they were going to lose. Because that’s want a fan of a team does; you suffer along with the team, and hope for next year. I really hoped that there was some important life lesson there that I was passing along, about loyalty, and commitment. But what I she made me feel was that I was about to waste a lot of time over the next couple of Sundays.

    Boy, it is not a joke. The day after Labor Day, New York City fills back up with people. Twenty years I have been here, and I keep thinking that this maxim isn’t true. And every year I am amazed how on Labor Day, no one is around, and then the next day, people are everywhere. I really should know better.

  • ODDS and ENDS: Sports Jerseys, Let Me Get to That, and Pre-Autumn

    ODDS and ENDS: Sports Jerseys, Let Me Get to That, and Pre-Autumn

    (Will our ball club win the pennant?)

    Today at school, the kid could wear a sports team jersey if she so desired. Being that she is in middle school, and the school has sports teams, sports are now a bigger part of her academic experience. Funny thing is that the kid doesn’t own any team jerseys. She asked me if I had a jersey that she could borrow for today, and sadly, I also don’t own any team jerseys. What I do own happens to be a Dallas Cowboys (Let me get to that in a bit), and a Tottenham Hotspur t-shirts. I was hesistant to give her the Cowboy shirt because clearly, the Cowboys aren’t a well respected team here in New York City. So that left the Tottenham shirt, which I offered to her. She declined the shirt, stating that the people who know who Tottenham is will only end up making fun of her, and it wasn’t worth it to her. I tried to explain that Frank is taking the team in a new direction, but the kid wouldn’t hear it.

    (Best if you read this part in a very thick Texas accent, which I have after drink several Shiner Bocks and getting all rilled up.) I jus’ wanna say this to Mr. Jerry Jones, which is that I think he is bein’ a damn fool when it comes to Micah Parsons. Now, Mr. Parsons is a franchise super star caliber player, a type of player who can change the momentum of a game, and if the Dallas Cowboys have any intention of reclaimin’ a Super Bow’ – they need Mr Parsons. To that end, Mr. Jones should’a paid Mr. Parsons what he wanted. Now, this whole idea that Mr. Jones is puttin’ out there that, this is all part of some “master plan to win a championship” is what is known in the civilized world as a damn lie! Y’ain’t foolin’ anyone Jerry! You gone and screwed up the team again! What is this, like our 30th rebuilding year?!?! Could you possibly get the cart outta the way of the horse for a change so we might have a chance of just winning the Division? Good lord man! You takin’ years off my life…

    I’m pulling out my sweaters and sweatshirts. Might have to wash my flannel shirts this week. I know it’s 78 degrees today, I don’t care. I want Autumn

  • Short Story Review: “Project” by Rachel Cusk

    (The short story “Project” by Rachel Cusk appeared in the September 1st & 8th, 2025 issue of The New Yorker.)

    Photo illustration by Stephen Doyle

    I am a big fan of Rachel Cusk; have been for some time now. There are a great number of reasons why I enjoy her work, and when I read anything by her, such as “Project” in this week’s New Yorker, my fandom evolves into admiration, and even a little jealously. I am not jealous of her talent as a writer, envious might be the better word for that, but when I read her work, I wish I was the type of writer that had time. Cusk’s fictional version of herself, though narrator might be a fairer description, possess the greatest gift of all; time. Time to observe and contemplate.

    In “Project,” the narrator contemplates how who we are gets created. This contemplation leads to a path that bends and turns and takes us to people in the narrator’s life. First we meet M, a movie star and model. The narrator is thinking of writing M’s autobiography, which M’s response is to “…just make it up.” In this first section of the story, the narrator intertwines her interactions with M, while also speaking of a book she is reading by a woman who details the horrid abuse she suffered at the hands of her stepfather. It is a strange comparison, if not a juxtaposition. In Cusk’s assured hands, we see how these woman took their situations, fought back and went forth to create better versions of themselves, yet both spoke of a moment where their childhoods were lost… But even as I try to describe this, I am not doing this story justice. The story moves on the narrator’s partner, and his bout with an aliment and the need to a brief stay in a hospital. Then there are questions of the time we have and how we share it. Why we live the way we live and where we live…. See, not doing this justice.

    This story falls into my favorite Cusk style of writing – It just flows. Maybe this type of writing is like stream-of-consciousness-lite. These thoughts and ideas have depth and weight to them, but they don’t get tangled up in minutia and tangents. All of these disparate ideas roll across the page, with observations of the life the narrator lives, but also how some of these truth and universal; Or at least there is a hope that they are. This is a story seems to be celebrating the existential gift of being able to create our self, and chose how to live out that creation. And to do all of this, to have a life that can be observed, we need time for reflection.

    And through all of it, the ins and outs of this story, Cusk has a wonderful melancholic final paragraph. Not so much an observation, or a contemplation, but a memory of raising her children; when trust was tangible and innocent. That taking the time, to remember and re-experience, is a continuous step in the project of self creation.

  • Short Story Review: “Something Has Come to Light” by Miriam Toews

    (The short story “Something Has Come to Light” by Miriam Toews appeared in the August 25th, 2025 issue of The New Yorker.)

    Photograph by Marcus Schaefer for The New Yorker

    I had a humanities teacher in high school who explained existentialism to my class this way; “We are all free to make choices in our life. Nothing is determined. You can choose to be whoever you want. Being able to choose doesn’t always mean you will be happier.” At least that’s the notes I took in my first journal way back in 1995. I went back to this journal after I finished reading Miriam Toews’ story “Something Has Come to Light,” because not only did the story make me think about choices I’ve made, but also about living with those choices.

    To sum this story up, perhaps a bit too simply: A grandmother has written a note/story for her grandchildren about a moment in her life where she should have said yes, but said no to the neighbor boy, Roland. Some years later the boy moves away, but dies, and his parents bury an urn that contain his ashes on their property. Sometime even later, after the parents on the neighboring property pass away and their land is to be sold, the grandmother sneaks onto the property at night, digs up the urn, and reburies it on her property. Every day, the grandmother has passed by the buried urn, and tells Roland she should have said yes. The letter/story ends with the grandmother asking the grandchild to dig up the urn and return it to Roland’s surviving sister, or if that’s too much to ask, leave him, and continue to tell him that grandma made a mistake and should have said yes.

    I loved this story. And I loved how this story snuck up on me, how it placed itself in my head, and kept poking at me, telling me to enjoy it more. The language here is simple and to the point, which is what you would expect from a woman that has lived a simple but contented life. The way it was written reminded me of how the Midwestern women in my family spoke – there was a plainness to it, but that didn’t mean that the words didn’t have nuance and revelatory meaning to them. The grandmother is a woman who doesn’t complain, but also is tough and doesn’t put up with much either, yet will never be rude about it.

    The story really is about Roland, and the affect he had on her life. Though the two of them weren’t close, according to the grandmother, you can tell that she had a deep appreciation for him. Roland was different from the other people in town. His great sin appears to be that he sat on the front row at concerts, had a gift for the piano as demonstrated with a concert he put on in town and which the grandmother saved a poster from. Then one day Roland rode up to the grandmother and asked if she wanted a ride, which she answered no. A decision she would regret as Roland moved away to England. The town never forgave him for leaving, and I sense that the grandmother never spoke up or out in Roland’s defense, but she lived with that regret. A regret that would possess her to the point that not only did she need to apologize to Roland for the rest of her life, but also to possess Roland for the remainder of her life.

    What I find captivating about this story is that it isn’t necessarily a romantic bond between the grandmother and Roland. Though I think there is a tinge about, like a frosting, but it’s not the driving motivation. What I believe the story is telling me is that the grandmother is mourning the exact moment where her life could have gone in a different direction. That she could have been, or done, something different. But, and this is most important, she does not regret her life. I say this because the start of the story, the grandmother explains that she keeps all the pictures of her grandchildren in a photo album next to her bed; how she looks at them, most nights. This is the act of a woman appreciating the life she lived, and what her and her husband created in this world.

    What I find Miriam Toews is asking me with “Something Has Come to Light” is can it be possible to love the life you led, but also mourn the moment when it could have gone in a different direction? Can you love a person who could have been your agent of change, while also not wanting to change? Can a paradox like this exist in a contented person?

    Perhaps. Perhaps the grandmother never wanted to let go of that chance encounter, to say she was sorry to the one person who wasn’t like anyone else she ever knew. Ultimately, the grandmother made her choice, and she learned to live with it, and with regret at the same time.