Tag: Short Story Writer

  • Short Story Review: “Yogurt Days” by Jamie Quatro

    (The short story “Yogurt Days” by Jamie Quatro appeared in the August 7th, 2023 issue of The New Yorker.)

    (SPOILERS! Though I think you know that, and I should stop announcing it now…)

    Illustration by Alex Merto;

    Source photograph by Bonnie Taylor Barry / Shutterstock

    Ah… religion and faith, and rules and guidelines, and patriarchy and pragmatism. This all has to do with Christianity and not religion in general. Christianity does get a bad rap in most fiction – used mainly to highlight the hypocrisy in human nature. Every now and then we get a work of fiction that is nuanced toward its representation of Christianity in the world around us. That’s what I felt reading “Yogurt Days” by Jamie Quatro – a story that is strong on theme, ideas, and structure. While the prose is adequate for the piece, Quatro strength is in taking all the tricks that are taught in writing classes, and uses them effectively to accomplish her goal of delivery a solid story that is honest, and even a tad melancholic.

    This is a story about faith, and the actions behind faith, and those motivations. The story is about the narrator’s mother who has more faith than sense, and is blessed with an affluent lifestyle which allows her to survive with that disposition. This mother isn’t a bad person at all, and the narrator, even as a child, is aware of that. The story jumps from the past to the present, and how the past situation is still influencing the narrator in the present.

    I said writing tricks because that’s what they are, but it works. The opening sentence is a textbook in making the reader want to find out more. The first paragraph previews the theme of the story. An early example of the mother’s faith is given to show why she behaves the way she does. There is the breaking up of, what could have been, a simple linear story through time jumps, in essence to create more drama, but also pad out the story. I’m not saying this to be mean, or to imply this is a “color-by-number” story, but to say that Quatro’s structure is easy to follow, and allows us to know that this story is going to land.

    But what Quatro does very well, and I think it is a strength of the story, is that by using this standard structure, it gives the story freedom to flow and bring life to little truths about faith, or the illusion of faith, and how faith can even infect the unfaithful. And best of all, in the middle of this story, the daughter (narrator) forgives the mother for her past transgressions. I think most writers would have made this the climax of the story, but I appreciated that this type of cliché was avoided. Instead, by putting the forgiveness in the middle, what we received was a better understanding of how faith had influenced the narrator’s life, along with a better understanding of the relationship between mother and daughter.

  • Short Story Review: “A French Doll” By Cynthia Ozick

    (The short story “A French Doll” By Cynthia Ozick appeared in the July 31st, 2023 issue of The New Yorker.)

    (SPOILERS! There will always be SPOILERS!)

    Photo illustration by Joan Wong; Source photographs from Getty; NYPL

    And then sometimes, The New Yorker just publishes a good story. Why beat around the bush here; “A French Doll” by Cynthia Ozick is a very good story. A shorter piece by New Yorker standards, but not flash fiction as the story is at 3,300+ words. Yet, I did find a flash fiction ethos within this story – it didn’t rely on a hero cycle, or a plotless character study, nor was this the tried and true beginning/middle/end with a rise in action. No, this was a story that played with language, mood, atmosphere, and an inevitable lesson that is reinforced in the actions taken by the characters. Since plot and development weren’t necessary, that’s why I say it’s more flash than traditional short fiction.

    There are so many points that I could ding as examples of why Ozick’s story works so beautifully well, but I fear I could get mired down in unending details. The opening section serves many purposes of creating the mood, theme, and setting for the piece. I loved how the narrator, as a child talking to the elderly neighbor, would lie about not being able to help the old woman, but in the end would still do the requested tasks – just like a kid would do. I loved how the bookending of the elderly couples passing was used to reinforce the theme of the inevitability of passing away, and wanting to leave something, even the most basic truths, for someone to acknowledge later. And then the use of the doll, telegraphed to us with the title, but still manages to delicately make the point of life and art.

    And yet, with all of that said, the best part of this story was the language used by Ozick. The words that were crafted, how they painted and played with creating a picture and a world that this story took place in. This language made me slow down, savor what I was reading. Not only was this world given vibrant life within the words, it also created a rhythm – like a dance – for descriptions to unfold. My favorite example being, “The sublime defiled, the sacred embedded in a thing of vanity, ridiculed, pirated, usurped, stolen. A felony, a wickedness, a sin.” This is a writer that enjoyed making words pirouette, tumble, and slide off the page.

    I have told you nothing about the story, and that was on purpose. Cynthia Ozick created something very unique “A French Doll” and you should read it. Let the surprises and turns hit you like they did me. Because this isn’t a plot story – this is about mood and understanding. You just need to read it.

  • Short Story Review: “Colorin Colorado” by Camille Bordas

    (The short story “Colorin Colorado” by Camille Bordas appeared in the July 10 & 17, 2023 issue of The New Yorker.)

    (SPOLIERS AHEAD!)

    Photograph by Ryan Frigillana for The New Yorker

    I loved it.

    It was much better than The Lottery.

    I going to read it, again and again.

  • Short Story Review: “Status in Flux” by Weike Wang

    (The short story “Status in Flux” by Weike Wang appeared in the June 26th, 2023 issue of The New Yorker.)

    (As in life, there will be SPOILERS!)

    Illustration by Jiayue Li

    First, we had stories about Covid arriving. Then there were the stories about living with Covid. Now we have arrived in age of stories after Covid, and what it all meant. “Status in Flux” by Weike Wang is at the vanguard of the “after Covid” era with all the questions: What did it all mean? How has it affected us? Some people have moved on, while others haven’t; why?

    As the story begins, the narrator informs us that the world recently opened up for travel after Covid, while at the same time she is having intense insomnia which she is addressing by driving at night to twenty-four hour grocery stores to peruse the froze isle. Just from the opening, this piece is witty, clever, and humorous. The narrator is in process of applying for a green card so her and her husband can travel, because everyone else in her life has gone off to travel. Her Canadian parents, her younger sister-in-law, her in-laws, and her friends. But, because of the green card process, she cannot leave the country. The story daftly intertwines all of these storylines, while also giving the narrator ample ability to dwell on her life as an immigrant, first from China as a child moving to Canada, then moving to America for grad school.

    Weike Wang is a very good writer. The story moved at a good pace, the characters felt individual and authentic to their own situations. Like I said, there is a healthy bit of humor in the story, and a few running and call back jokes are thrown in as well. The piece is well structured, showing Wang’s skill of not over staying any one storyline too long.

    Yet, at the end of the story I couldn’t shake the feeling that nothing happened. All of the other characters go out in the world, but the narrator and her husband are stuck at home in New Jersey, waiting to see if she gets her green card. I get that narratively, logically and thematically that this is the point of the story, but it didn’t feel satisfying. The narrator keeps doing the same thing at the end of the story that she did at the beginning – driving to all-night places while dealing with insomnia. Also, the narrator doesn’t seem to learn anything, or gain any new knowledge, and emotionally, she never grew from where she started. It was frustrating because in the final moment of the story, the narrator is talking of driving to the boarder, all phrased as questions – so it’s just a hypothetical, and not a choice or an action.

    This story really did charm me, and I enjoyed reading it. As I got closer to the end, I wasn’t sure what to expect, but it did feel like it was building to something. For that reason, I can’t say that I loved this story, but I most certainly didn’t hate it. I would have to say that I had the mildest, lightest of disappointments with it. But in the end, you should read it.

  • Short Story Review: “Civil Disturbance” by Said Sayrafiezadeh

    (The short story “Civil Disturbance” by Said Sayrafiezadeh appeared in the June 19th, 2023 issue of The New Yorker.)

    Photograph by Holly Andres for The New Yorker

    This week’s short story from The New Yorker is “Civil Disturbance” by Said Sayrafiezadeh, an author I never have read before until today. It’s a competent short story that does a very good job of creating an unnamed fictional city that the characters exist in, which by extent, gives the protagonist ample breath of motion to go on his journey.

    This is a first-person story, and the narrator also is unnamed, like the city. He and his girlfriend Molly, are out canvassing for their favorite candidate three days before the mayoral election. Molly works for the candidate’s campaign, as she has a clipboard of voter information, while the narrator give off a feeling of more “along for the ride” with his girlfriend. They bicker with each other, also implying that their relationship is near ending. The narrator works at a gym, a membership salesman, and his job skills come in handy speaking to potential voters when they answer the door. It happens that they come across a former high school classmate of the narrator’s. The classmate’s name is Bryce, who was a straight-A student that the narrator bullied in high school. Bryce works at the Wal-Mart next to the narrator’s gym, and happens to support a third-party candidate. The next day Bryce shows up to the gym looking to join, which the narrator is ready to upsell him, but then starts to have a change of conscious, only to have the power go out – blamed on the incumbent mayor. That night the narrator and Molly go out, and he throws bricks in the windows of the house that didn’t answer the door, which includes Bryce’s home.

    There was a lot to like in this story. It flowed well, and had some nice touches of humor in it. The story was efficient on the whole, and worked with a minimum number of characters, who were clearly defined with understandable intentions. I also enjoyed how Molly would say something, and then the narrator would use that saying later in the story, showing he was listening, and applying what she said, though not in the correct way. And I was fascinated by this fictional city – it felt lived in, rundown, and struggling.

    Yet, something kept nagging at me about this story which kept me from committing to it. One was that it did, sort of, have a “Dead Chick in the Basket*” moment at the end, where it is shared with us why this former high school jock became a gym membership salesman. I don’t think this information was needed about the character because we know that he is emotionally stinted, stuck reliving his past high school glories, and how that has affected his present situation. Knowing it was his coach who pushed him in that direction actually provides no new emotional insight on the character. The second issue took me a moment, but when I reread the story it hit me; this dumb jock talks like a writer. I offer this example; “Today’s particular conflict had been set in motion by the banal-”. Yeah… sorry, but no. The narrator doesn’t say “dude,” or “bro” or use any sports metaphors in describing any situations he’s in. The character is “jock” in name only – not in thought or action.

    And that was it. Too bad as well, because I did enjoy what this story was saying about elections, politics, and how people interact with each other. Also, like I said before, Sayrafiezadeh did create a very lived in fictional city, that I was intrigued by, and wanted to know more about. I have a feeling that I will search out his other works, because there is something here, even if this story wasn’t completely even.

    *  “Dead Chick in the Basket” refers to a clichéd 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.”