Tag: Short Stories

  • Short Story Review: “The Complete” by Gabriel Smith

    (The short story “The Complete,” by Gabriel Smith appeared in Issue 6, of The Drift.)

    At the start of the pandemic, my wife was on one of those huge group chats with her friends, all attempting to use Zoom, and recreate some sense of normal human connection. This was probably April or May 2020. Most of my wife’s friends are in the creative fields; writers, actors, directors, poets. My wife told me later, that on one of those early calls, they all started discussing how they thought the pandemic was going to be portrayed in movies, TV, theatre, novels, and so on. Some thought it would usher in a new version of hyper-realism, another group thought it would be treated how 9/11 was. I don’t know, but since those early days, it feels like every couple of months, someone writes something asking, “How will the story of COVID be told?”

    Gabriel Smith’s story, “The Complete,” is the first work of fiction I have read that has tried to take a crack at it. I don’t think I could give a quick summary, or even a long one, for this story. It takes place in London, sort of. It’s about a writer, kind of. And COVID is happening. While the story doesn’t have a formal plot, it does have atmosphere, mood, and an almost tangible ethereal presence. Oh, and a real good sense of humor.

    Two main things struck me with the story. First, I felt like someone captured what my brain went through during the dark days of the pandemic. How my imagination would wander and drift, break things apart and put them back together. I had so much time to think about everything that had ever happened to me, and way too much time to think about the end of the world. Second, the whole piece worked in this wonderful staccato rhythm, with each section of the story coming in, then cutting to another part, then another cut. This method of storytelling wasn’t new to me, I have read other attempts of this style, and I was aware that at some point all of these tangents would tie together. But the fun wasn’t waiting to see if it came together; The fun was watching how it came together. Because I can see how someone might complain that this story is all style and no substance, yet I would argue, strongly, that the substance, the weight of this story, was in the style which captured a still undefinable time.

  • Where I’m At

    I got rejected from another lit magazine yesterday. I submitted to five at the end of January/beginning of February. That would be three rejections in the past two weeks. I am expecting to be rejected by the final two magazines, and then we will start this whole process over again.

    I am reminding myself that everyone I know who has a successful career in the arts had to put in about ten years of ground work first. The other thing that comes to mind is what my dad told me about achieving a goal; you get 100 no’s before the first yes, so get the no’s out of the way. So, 97 more no’s to go.

    Now that I have the self-affirmation shit out of the way, I think I’m going to subscribe to “The Drift” today. It’s a quarterly lit mag, written by people who are younger than me. I mean, not that much younger, but still, I have a few years on them. Anyway, I feel the need to discover some new ideas.

    I have been able to get back to reading regularly, and I am making headway through “The Stories of John Cheever.” I still have “60 Stories” by Donald Barthelme that I seem to have been working on for five years, but I am feeling like 2022 is the year it will be finished. Furthermore, I feel like I will be making a trip down to The Strand soon, and see what I can find.

    Yeah. That’s where I’m at.

  • Short Story Review: “Wood Sorrel House” by Zach Williams

    (The short story “Wood Sorrel House,” by Zach Williams, Appeared in the March 21st, 2022 issue of The New Yorker.)

    (I see spoilers!)

    I do not know what to make of this story. I haven’t stopped thinking about the thing since I finished reading it, but I still can’t come up with what it’s all about. And this is meant as a compliment. If a story lives on in the reader’s mind, and does dissolve into forgotten nothingness as soon as they are finished with it, then that author has achieved something. I tip my hat to you Zach Williams; your story is taking up space in my brain.

    “Wood Sorrel House” is about a couple and a toddler seemingly trapped in a cottage in the woods. Days pass, they age, but the toddler does not. Each morning food and supplies are replenished in the house, thus allowing them to live in the cottage. The couple tries to figure out where they are and why they are there, and soon they discover the toddler is never able to get hurt.

    I have an ego, and some days I think I am smart, and when I started reading this story, I was like, “Oh, this is an absurdist styled story, and it’s a metaphor for death.” Because, if my college education taught me anything, it’s that absurdist/surrealist/modernist stories are all really about death. But as I kept reading, I began to doubt my ego-driven conclusion. Why was the snapping turtle killed? What happed when the male in the couple disappeared? What happened to the toddler when the woman went down to the lake for days at a time? Why did the couple age, and get injured, but the toddler was immune and also ageless?

    I found that this story was taping into emotional territories that made me react. Perhaps it’s because I’m a parent, but I kept feeling this sense of dread for the toddler, that something awful was going to happen. There was a sense of disgust in how the man went out a destroyed nature. And a sense of sorrow as the woman tried to make sense of all of it. I was reacting to this story, I was compelled by it, but I couldn’t make sense of it. If it wasn’t about death, what was it about? Was it the lack of logic? Things stayed the same at the cottage, but the outside world seemed to keep moving; not changing into something different, but just moving along. Was this a metaphor for dealing with Covid? Maybe it had no meaning, but that would make it about death, right? What was it? Like I said, I don’t know what to think about the story, but the story is making me think about what it could be about. That’s a pretty successful story.

    (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: “The Biographer’s Hat” by Cynthia Ozick

    (The short story, “The Biographer’s Hat” by Cynthia Ozick, appeared in the March 14th, 2022 issue of The New Yorker.)

    (I spoil things…)

    When it comes to these reviews, I have a rule that I adhere to, which is I do not read up on the author or inspiration for the story I am about to review. The reason for this is to try and stay as objective and uninfluenced as possible. You know, review the story on the merits. Now, obviously, there are a few writes that I know before hand, so it’s not a perfect system.

    I know nothing of Cynthia Ozick, but I do respect that she got a short story in The New Yorker. And when I started reading her piece which is in the latest issue, “The Biographer’s Hat,” my mind began to wander and wonder a little. The story’s beginning felt like it was from a bygone era of literature. I wasn’t sure if that was a purposeful style choice, or if this was a story that was written in the 90’s by some respected but relative unknow writer, who’s had a prolific output spanning over 40 years.

    In a nutshell, the narrator is an older woman who once took a class at The New School which was taught by Emanuel Teller, who was a performer of some minor fame years ago. A biographer has contacted the narrator for an interview, and we learn that just about everyone who knew Teller is now dead, except for the narrator. When the interview happens, the narrator is stuck by how odd the biographer is, and when the interview is over, the biographer leaves a hat on a chair, which is claimed to have belonged to Teller. The Narrator never hears from the biographer again, so the hat, which is slowly collapsing, is stored in her closet and forgotten about. Time moves on, the biographer returns to the narrator, and talks her into allowing him to stay for a short while, as he completes the biography. Soon, the narrator takes part in the creation of the biography, helping the biographer create a narrative that is fictional. When the manuscript is complete, the biographer leaves, and the narrator never hears from him again. Then one night, the narrator retrieves the hat from the closet only to find that it has completely collapsed.

    Oh, this is a story, and it is told sparsely and efficiently, and takes you on a journey. But most impressive, Ozick was in complete control of this story, though I didn’t see it at first. I see now that my reaction to the start of the story was purposely constructed, that I and the narrator are both wondering what is going on. It is done so well, that when I got to the part where the biographer returns, and starts to weave his idea that the narrator should help him in creating this fictious reality for the biography, it dawned on me that Ozick had planted seeds in that first part of the story; The Village of old, the writers, the people who supported writers to make then successful, even the narrator’s desire to be on stage. I saw how the biographer played on the narrator’s desires, and how she almost knew she was being lied to, but it was a pretty lie that validated her existence.

    It all made sense. The structure that the story was built on, how the tumblers of the narrative feel into place, the character’s motivations, all of it worked. I’m sorry that I doubted you Cynthia Ozick. You knew exactly what you were doing, and played me like a mark.

  • 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.