Tag: Matthew Klam

  • Short Story Review: “Hi Daddy” by Matthew Klam

    (The short story “Hi Daddy” by Matthew Klam appeared in the October 14th, 2024 issue of The New Yorker.)

    Photograph by Ryan Lowry for The New Yorker

    As I get older, I have this dualistic thought in my head when I think of my parents; How much I am like them, and how much I am not like them. This dualism can cause great joy, and unbelievable anxiety in me. I also know as a middle-aged man, that the more things change, the more they stay the same. With Matthew Klam’s story “Hi Daddy,” a well-intended but uneven work, he attempts to address these issues.

    Here’s my way to simple synopsis: Middle aged man says goodbye to his teenage daughter as she goes off to Europe for the summer before she starts college, and then he visits his elderly parents, realizing that he is more like his father than he wants to admit.

    Emotionally, I dug this story, and identified strongly with the narrator. There was an honesty in the narrator, that sometimes got very close to self-pity and whining, but Klam was able to pull it back in time. The narrator, in his family, has the role of primary care giver, as his wife has the job that earns the majority of their living. This role has left the narrator feeling taken for granted and left out, though his wife does point out that he is the cause of this situation, as he can be emotionally unavailable, especially to their daughter. Part of his issue stems from having trouble dealing with his daughter leaving home, and the changes that it will bring. When he visits his parents, his father has fallen and has dementia. The dementia means the father no longer recognizes the son, and the fall means that the once stoic and distant father has become feeble and dependent. Again, the theme of change, and the act of dealing with change, gives the story a weight here, and the narrator’s inability to know how to deal with these situations and emotions has a melancholic honesty to it.

    Yet, I had issues with this story, and they were all technical storytelling issues. When I finished the piece, I was left feeling unsatisfied, and that was due to none of the story threads felt wrapped up. Many emotional tangents are cast about in this story, but they don’t come back or lead to a resolution. The narrator says that he doesn’t like his parents, but the issues are with his father, so why is the mother put in the same bucket with the father? When the narrator realizes that he is becoming like his father, will that influence future actions of the narrator?

    That last one was the kicker for me, for that was the driver for the unsatisfying feeling the story created in me.

    If this is a normal “Hero’s Journey” story, then the narrator’s realization that he is like his father would then influence an action in the climax of the story, therefore allowing the hero to defeat the obstacle and view the world in a different way. The best that I can tell, the hero’s obstacle is himself, the climax has to do with the horse getting free (horse also metaphor for father/son,) yet the narrator’s actions in dealing with the horse are not influenced by his realization. If this is a normal “Rising Action, Climax, Resolution” story, then I’m not sure what to make out of the last two sections as a resolution; the thoughts the narrator has about his daughter’s choice in boyfriends and her actions towards them, and final section which is a “Dead Chick in the Basket*” cliché. That left me to believe that this whole exercise was just a meditation on the narrator dealing with a rough two days, and the narrator is the same person at the start of the story as he is at the end of the story. And if that is true, the narrator doesn’t change, then why are we being told this story?

    I will say this, “Hi Daddy” has some very fine points, and some crisp, honesty imagery and writing. Matthew Klam is writing about a character who is flawed, which is just ripe for storytelling. And it almost gets there. He just didn’t stick the landing.

    *  “Dead Chick in the Basket” refers to a writing device where the final paragraph of a short story contains new information about a character which is meant to make the reader view the actions, statements, or feelings of that character in a different light. The first known use of this device was in J.D. Salinger’s short story “Just Before the War with the Eskimos.”

  • Short Story Review: “The Other Party” by Matthew Klam

    (The short story “The Other Party” by Matthew Klam appeared in the December 19th, 2022 issue of The New Yorker.)

    (Do I still need to say, SPOILERS?)

    Photograph by Elizabeth Renstrom for The New Yorker

    About a month into the Covid lockdowns, so this was late April 2020, on a Zoom chat with friends, someone asked the question of how Covid will be depicted in movies, tv shows, novels, and so forth. Would there be stories about anxiety, existential doom and gloom, or would some media just act like Covid never existed? It was a lively topic for discussion, and with two plus years on now, more and more stories are beginning to show up, and try to deal with what Covid has meant. It is my belief that “The Other Party” by Matthew Klam sprang from such a thought as well.

    In a nutshell, this is a story about a middle-aged guy who lives comfortably in the suburbs. The protagonist has a neighbor who is suffering from the early stages of ALS, and this neighbor and his wife are hosting a block Holiday party at their house. Juxtaposed to this adult party, the protagonist’s teenaged daughter is hosting a party for her friends, which devolves into taking edibles and going to other parties and places. All the while the middle-aged protagonist waxes on life over the last two Covid years while living in this neighborhood.

    Sadly, this story is a structural mess, and too smart for its own good. A large amount of the prose is dedicated to describing clothing and background information on the people who live in this neighborhood. Though colorful, it makes the piece feel bloated, and longer than it needs to be, and this was a longer story. Also, the story had a point of view issue, which seems to have been focused on the middle-aged protagonist, but then the story jumps to what his daughter is doing, but is presented as happening at the same time with no explanation of how the protagonist has come to know the events of his daughter’s evening. This decision makes the story feel incongruent to its internal logic, like Klam wanted this structure more than he thought through how it could happen in this world. But sadly, the great sin of the story is that the protagonist doesn’t go on any sort of journey, or learn anything. What we are given is a character that thinks his life isn’t so bad at the start, and then by the end, he still feels his life isn’t so bad. You know, Dorothy has to think life in Kansas sucked first, so that her realization that there is no place like home has some weight to it. These three issues all feel like unforced errors, like another draft could have addressed and solved them.

    It’s too bad about this piece, as I do think we are just in the beginning of the Covid story era, which will address all of the emotional trauma it caused us. It still might be years before we wrap our collective heads around what happened. But at least people are trying.