Tag: #Fiction

  • Short Story Review: “Self-Portrait in Assignments” by Max Kruger-Dull

    (The short story “Self-Portrait in Assignments” by Max Kruger-Dull appeared on November 30th, 2023 in Milk Candy Review.)

    I am a strong proponent for flash fiction to not behave like a short story. That’s not to say that a writer cannot craft a well written short story in under a thousand words which exhibits all the qualities of a traditional short story; opening, rising action, climax, conclusion, character development…etc. I hold to that flash fiction should reject the use of plot, climax, and even resolution. Flash should be its own beast that is about the expression of an idea or an emotion, wherein the narrative ends with the conclusion of the idea or emotion, but does not necessitate a resolution of the idea or emotion.

    (Academic enough for you?)

    “Self-Portrait in Assignments” by Max Kruger-Dull came across my desk last week, and I have been kicking it around in my head ever since. It’s the type of flash story that was a bit of a gut punch and made me question my approach toward this style of fiction. The piece is made up of ten short vignettes, just about all dealing with words that, in one way or another, have been assigned to the narrator. Each short piece is titled with the abbreviated name of the person who did the assigning.

    So, that’s the form of the piece.

    The way these ten vignettes play with each other creates a picture of the narrator, though not in a linear timeline, more of a sequence that exemplifies the narrators emotional standing, and ultimately, emotional growth. Though the narrator comes across as a smart person, there is also a hint of a lack of self-confidence, though a determination to keep trying also exists in the character. That determination is exemplified in the love and care that the narrator has for his daughter. Kruger-Dull smartly gives three examples of interactions with the daughter; one being before the daughter was born thus showing how her influence was already present in the narrators life. By using the rule of three, the importance of this relationship is made paramount, thus signaling the emotional conclusion of this “self-portrait.”

    All the notes are played right in this piece, which left me feeling satisfied with the journey that this piece took me on. I want to say that the narrator started in one place and finished in another, but did they? Did the narrator only acknowledge their shortcomings, and choose not to pass them on to their daughter? I first thought there wasn’t a conflict in the piece, but was there? Was the narrator fighting to accept himself in the eyes of his daughter? To be better for her, even if that means he has to fake who he is?

    See; I can’t put my finger on what it is. But what I do know is that “Self-Portrait in Assignments” is using flash fiction in a specific way to express an emotional idea that couldn’t exist an any other format.

  • Read the Guidelines!

    I don’t think it’s a secret that I am trying to get one of my stories published in a lit magazine. I don’t know if this is the right way to start a career writing fiction, or if there is a better way to go about it, or if there is no right way and you just got to figure it out. (I think it’s the last option.) Either way, I write and then I send the stories out to magazines, then wait to see what sticks to the wall.

    Almost every magazine says two things; please read an issue of their magazine before you submit, and please follow the submission guidelines. I have started reading some of these magazines, and I have enjoyed discovering new writers and new ideas on how to tell a story. As for following the guidelines… yeah, I still suck at that.

    In fact, I was rejected yesterday for that exact reason, even though the form letter that was sent to me never mentioned that I had failed to follow their guidelines. I thought that it was very polite of them not to mention my complete inability to follow the most basic rule they set forth. I know I was rejected for not following the guidelines because the magazine stated that it could take three months for them to respond, and they rejected me in three days. I went back to read the submission post, and that’s when I reread the rules, and realized that I didn’t follow them. Oops…

    And I know what happened. I found this magazine, and got impatient, and wanted to send out right away as it was on my mind right now!

    I feel a little silly. I should have known better. I should have slowed down, taken my time.

    Remember people, read the guidelines.

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

  • Short Story Review: “What the Forest Remembers” by Jennifer Egan

    (The short story, “What the Forest Remember” by Jennifer Egan, appeared in the January 3rd & 10th, 2022 issue of The New Yorker.)

    Why did our parents do the things that they did? Why did my dad stop buying sports cars in the 70’s and then start buying station wagons? I can guess, which is that he started a family, and two door sports cars just aren’t practical for a growing family. That’s a logical answer, and most likely correct, but there is an outside chance it could be something else. Do I want to know his thought process as to why he made this decision when it came to cars? No. I want to believe he made that decision because he loved his family and it was the right thing to do. I would hate to know that he was guilted by my mother to give up his sports car for a station wagon, and he spent the rest of his life resenting her and his kids. It’s not a pleasant thought, but it is possible.

    I feel that was what Jennifer Egan was trying to tackle with her short story, “What the Forest Remembers,” which is a fun read. She tells the story of four men, three of which who are married with families, all living around the San Francisco area in 1965, who go on a trip to the wilderness around Eureka, CA. The point of the trip is to visit a marijuana farm/commune, experiment with grass, and have a good weekend. The crazy right turn of this story is that the narrator, Charlie, who is the daughter of Lou, one of the four men going on the trip, has access to the memories of her father, the rest of the men, and even some of the people at the commune. This is because Charlie exists in the near future where people have uploaded their memories into a Collective Consciousness, and thereby, one can review memories and thoughts of the past. It was a bit of a jarring twist, but it had a slight Vonnegut feel to it, so I went with it. I don’t want to spoil the story, but this trip plays an important role in the three married men’s lives.

    I had to read this story twice, because the first time through it, I just felt like I had missed something. The story and the writing is very, I think, charming is the best way to describe it, but the ending left me feeling unsatisfied. I sat on it for a day, and then decided I needed to take another crack at it. The second time through, I began to pick up on a little of the nuance of disappointment Charlie has with her father, which I found at odds with the concept of the story. If the premise is that Charlie can see and hear her father’s thoughts and memories, then there shouldn’t be any vagueness on her understanding of his intention and thought process of those decisions. There are moments and lines that are dropped by Charlie about her father’s thoughts towards her, that you would believe would be difficult for her to hear, but these thoughts are treated like adjectives in describing a person’s hair color. In fact, at one point in the story, Charlie rhetorically asks what should be done with this overload of information that comes from viewing a person’s memories? Which causes Charlie to state, “Not every story needs to be told.”

    And I think that is where my issue with this story lies; why is this being told? If Charlie is not affected by her father’s memories; they neither make her happy nor upset, then why is this being shared? If you remove Charlie and the Collective Consciousness database, then this is a story of a consequential weekend for three men in 1965. But Charlie and the database is in there, so the question must be asked, as to why? Shouldn’t Charlie and her feelings towards what happened be paramount to the story’s resolution? And that right there is why the story felt unsatisfying for me; what does Charlie think about all of this? It’s like a punch got pulled at the very end.

  • Personal Review: “Unread Messages” by Sally Rooney

    (The short story “Unread Messages” by Sally Rooney, was featured in the July 12th & 19th, 2021 issue of The New Yorker.)

    When it comes to authors, I am the worst type of fan. I have been following Sally Rooney ever since The New York ran a piece on her, right before Rooney’s second novel, Normal People, was published. I watched Normal People on HULU, but I have ever read a word of her fiction. I collect books, but sometimes never read them. Which I guess does beg the question, can you be a fan of a writer yet never read their writing?

    That changed this week, as I read Rooney’s short story, “Unread Messages” in this week’s issue of The New Yorker. I was actually excited when I saw her name in the table of contents, because I can now read this author.

    It is a story about Eileen and Simon, and their lives together and not together. As what I was expecting from Rooney, the characters are in their late twenties and early thirties, moving from early to middle adulthood. The story was in two sections, relatively. The first was a meet up for coffee between Simon and Eileen at lunch, which they flirt, and Simon asks her for advice on how to deal with a friends odd platonic/romantic entanglement. Then the story shifts back in time, giving the background on the characters, and proceeds to move forward. I feel the first section takes place after the end of the story. It’s not high drama, but it is the story of love and wanting to be loved.

    What I took away most was Rooney’s skill at writing. The words and sentences are short, succinct, and to the point. Nothing feels superfluous, or indiscriminate in the construction of the sentences. This is writing that moves ahead, but doesn’t feel rushed, in the sense that, I felt like I was getting exactly what I needed to know. Which is strange that a character, that plays a supporting role to Eileen, is mentioned as having been admitted to a psychiatric hospital, and then is never brought up again. I found this decision odd and puzzled why it was made? To bring Eileen and Simon closer, but even that felt too simple. And that is how I would describe the story; simple. As in the end, the central question of this story is, “Are they, or aren’t they going to get together?”  

    But it was a beautiful, simple story, written by an author that is very confident in her ability to write.

  • Personal Review: “Offside Constantly” by Camille Bordas

    (The short story “Offside Constantly” by Camille Bordas, was featured in the June 28th, 2021 issue of The New Yorker.)

    I have had a soft spot for stories that deal with grief, because I am still dealing with the grief of my mother’s passing. This affection explains why I was such an avid supporter of “WandaVision,” and still list it as one of the best TV shows of 2021, as it was a story about how even the best people can fall victim to, be consumed by, and ultimately, deny that they are in mourning. That once you start down that path, it is very difficult to get out of it. “Offside Constantly” is another story of a protagonist dealing with the effects of grief, and how to deal with those emotions.

    From the start, teenager Johanna is talking about death, or how people die. Her brother has recently passed, and she is dealing with a probable case of narcolepsy, but it cannot be confirmed because her mother won’t allow a spinal tap. We learn about Johanna’s obsession of getting her brother’s obituary listed in a magazine, and her attempts at helping another girl at school deal with her mental issues. Her mother comes across as caring, and her father is distant, but both seems to be handling their grief away from Johanna’s observations. When the climax of the story arrives, Johanna’s actions have changed though she explains that she hasn’t changed her mind.

    What I read was smartly written, but I would also categorize it as a “something-yet-nothing happens” story. Yes, clearly things happen; a plot was set forth, a climax occurred, and there was a resolution, but it felt like nothing happened. I think this was caused by the narration of Johanna, who never seemed too concerned for anything, other than a moment when her parents showed some affection towards each other, which upsets her, as she sees it as they are returning to “normal.” I understand that teenagers can be angsty and attempt to portray themselves as disinterred in everything, but this teenager talked like she was over 30, which left me feeling that the character lack authenticity. Grief can manifest in numerous different ways for each person. There isn’t one way to mourn, and we should allow people the breath of space to discover, or learn, what their new normal life will be as loss now accompanying them. I apricate that “Offside Constantly” took the time to look at the loss of a sibling, but I never could understand why Johanna wanted to share this with me, as I don’t think the story decided if her situation was dire, and needed to be corrected.