Tag: Short Story

  • Short Story Review: “The Ukraine” by Artem Chapeye

    (The short story “The Ukraine,” by Artem Chapeye and translated from the Ukrainian by Zenia Tompkins,, appeared in the April 4th, 2022 issue of “The New Yorker.)

    I feel that I am like most Americans, in the sense that I didn’t know a whole lot about Ukraine until about two months ago. I knew that a town in Texas was named after a city Ukraine, that the Crimea was in Ukraine, and that’s where the Charge of the Light Brigade took place. I knew that Chernobyl was in Ukraine, and that the country used to be a part of the Soviet Union. Let’s see, there was also that Trump/Biden impeachment thing that had a Ukraine connection. But, outside of that…

    I also think it is an incorrect belief that one writer can capture the whole spirit of a nation. Steinbeck’s America was different from Kerouac’s, as was Baldwin’s and Twain’s. Each is different, and was still correct. Artem Chapeye’s story, “The Ukraine” is about Ukraine, if you couldn’t put that together, and also about a relationship between the narrator and a woman. The cynical side of me, the judgmental side to be honest, was hesitant to read it because the title alone made it feel like The New Yorker was only publishing this story due to current events. As I started reading, and the narrator spoke of his travels across Ukraine with his girlfriend, I had the bad feeling that the author was going to try and capture all of Ukraine in one piece. And as I stated before, I find these encapsulations an act of folly.

    Like I said, I was being judgmental.

    “The Ukraine” is not an exercise of excessive nationalist propaganda, but a soft, quiet meditation on memories, life, death, acceptance, and travel that bonds people together. (In fact, the story has a great line against public displays of overt patriotism, that I won’t ruin.) Maybe part of the power of this story is the fact that as places and cities of Ukraine are named, in my mind, I can see the images of burnt out buildings, and bomb cratered streets. To hear that these places were once a destination that brought about joy to the couple in the story, created a palatable melancholy for all the things lost. About half way through the piece, it finally dawned on me that the fact the story took place in Ukraine was inconsequential. The act of experiencing places together with someone you love, sharing time, creating memories, these are the actions that make life valuable. I will say that the climax was not a total surprise, as it had been hinted, but it still held the needed weight to conclude the story.

    This was not a revolutionary work. It’s didn’t break new ground in literature, or change the landscape of fiction. No, it wasn’t that. What it was, was authentic, and honest. It pointed out a fault of mine, while also reminding me that this truth still exists, “People are beautiful, even if they don’t realize it.”

  • Short Story Review: “After the Funeral” by Tessa Hadley

    (The short story “After the Funeral,” by Tessa Hadley, appeared in the March 28th, 2022 issue of The New Yorker.)

    I don’t think I’m telling you something that you don’t already know, but there sure aren’t many stories about mother and daughters. Hey, I know that there are some great mother and daughter stories out there, but if you compare it to the number of father and son stories, then you can see that mother/daughter’s haven’t been given enough due.

    “After the Funeral” by Tessa Hadley is a mother/daughter story. It begins just like you’d think, after the funeral of Philip, a BOAC pilot who has died in a hotel away from his wife, Marlene, and his two daughters, Charlotte age nine, and Lulu age seven. Marlene is so grief stricken that her two daughters have to step in, not only to console their mother, but also to push her to just function as their mother. Soon it is revealed that Philip wasn’t a very good father nor husband, as when he died, he was not alone in his hotel. Soon, Philip’s family, especially an over baring mother-in-law, steps in to take charge of Marlene, Charlotte and Lulu’s life; sorting out finances, having them move to a more affordable flat, paying for the girl’s school, and helping Marlene get a job at a doctor’s office. Time passes for this small family, and soon the married doctor Marlene works for starts spending more time with her and the girls, but soon Marlene is let go from the job due to implied reasons. Marlene finds another job at a grocery store that supports her family, and fulfills her. At the same time Charlotte is accepted to go to University, but refuses because she feels her mother cannot function without someone watching out for her. The doctor reappears, now having separated from his wife and wants to marry Marlene, but Marlene cannot commit to him, which bothers Charlotte immensely, as the marriage to the doctor would allow Charlotte to leave her mother, and go off to college.

    It is a very well-made plot, and a very well-made story. It’s beautifully written, and shows that Tessa Hadley is a very good writer. Yet, something was still off for me. It was the climax of the story, which I will not spoil. This story is very direct, which is shown by the fact that the title is literally the first line of the story, which to me signaled that this is the moment that these lives all changed their trajectory. What they thought their lives would be has completely changed, and the relationship between Marlene and Charlotte is central to that idea. Marlene has not been the maternal one, relegating that responsibility to Charlotte. And when the climax arrives, and Marlene starts to behave motherly toward Charlotte, Charlotte slips right in to accepting this affection. I found it odd because there was no resentment from Charlotte to her mother, no angst, anger, spite, nothing. Why it bothers me is not that I believe a daughter wouldn’t accept this consoling from her oft-absent mother, but because the story had laid out a very methodical cause and affect motivation for these two characters. It left me with a “meh” feeling because I wanted these characters to reconcile the way they did, but I didn’t feel it was authentic to the story that was laid out. Sticking the landing in a short story is tough, not matter what the story is about. I liked that these characters were messy, but not abnormal; just off a little. They cared about each other, but clearly wanted different things in their lives. It is complicated. As mother and daughter relationships can be, but also illuminating in showing how we become the people that we are, which is why these stories need to be told.

  • 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.

  • 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.