Tag: Short Stories

  • 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.

  • 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.)

  • 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.