Tag: #TheNewYorker

  • Short Story Review: “Fireworks,” by Graham Swift

    (The short story, “Fireworks” by Graham Swift, appeared in the January 17th, 2022 issue of The New Yorker.)

    Crisis and release. Some people live for it, some thrive in it, but most people try to avoid it. As we are all living in a global crisis, helplessness seems to be a feeling that we are all dealing with, and, in some cases, projecting on others as well. Different characters exemplify these emotions, and reactions in Graham Swift’s short story “Fireworks.” It’s a short short story, even for The New Yorker’s standards, but that isn’t a knock against the piece, as it is a concise and subtle work.

    Plot: The story is set during the Cuban Missile Crisis, and the question is if Frank’s daughter’s wedding will happen, or will the world end, and then the after effects of that situation at a neighbor’s bonfire on Guy Fawkes Night.

    I liked this story, for its simplicity and directness of Frank’s experiences. How Frank stayed steady and calm about a positive outcome for the Missile Crisis, and how life would continue. I like how Graham Swift worked in the observation of Frank’s dread of Mondays, but also his relief and focus when that work day was over, as now the rest of the week would be manageable for him. Knowing that Frank was a bombardier in the War, added a nice depth to his character, as Allied aircrews had a high mortality rate. And how it all mixed together at the neighbor’s bonfire, celebrating the foiling of the Gunpowder Plot, which if it hadn’t been stopped, could have plunged England into war and civil strife. Frank’s heroic act is faith, belief that it will be okay, though everything is out of his control. Sure, maybe this wasn’t the most dramatic story I have read, but I don’t think high drama was the point. I felt like this was a story confirming where we are presently, and where we can still end up. And if it does work out, appreciate what you went through to get there.

  • Short Story Review: “What the Forest Remembers” by Jennifer Egan

    (The short story, “What the Forest Remember” by Jennifer Egan, appeared in the January 3rd & 10th, 2022 issue of The New Yorker.)

    Why did our parents do the things that they did? Why did my dad stop buying sports cars in the 70’s and then start buying station wagons? I can guess, which is that he started a family, and two door sports cars just aren’t practical for a growing family. That’s a logical answer, and most likely correct, but there is an outside chance it could be something else. Do I want to know his thought process as to why he made this decision when it came to cars? No. I want to believe he made that decision because he loved his family and it was the right thing to do. I would hate to know that he was guilted by my mother to give up his sports car for a station wagon, and he spent the rest of his life resenting her and his kids. It’s not a pleasant thought, but it is possible.

    I feel that was what Jennifer Egan was trying to tackle with her short story, “What the Forest Remembers,” which is a fun read. She tells the story of four men, three of which who are married with families, all living around the San Francisco area in 1965, who go on a trip to the wilderness around Eureka, CA. The point of the trip is to visit a marijuana farm/commune, experiment with grass, and have a good weekend. The crazy right turn of this story is that the narrator, Charlie, who is the daughter of Lou, one of the four men going on the trip, has access to the memories of her father, the rest of the men, and even some of the people at the commune. This is because Charlie exists in the near future where people have uploaded their memories into a Collective Consciousness, and thereby, one can review memories and thoughts of the past. It was a bit of a jarring twist, but it had a slight Vonnegut feel to it, so I went with it. I don’t want to spoil the story, but this trip plays an important role in the three married men’s lives.

    I had to read this story twice, because the first time through it, I just felt like I had missed something. The story and the writing is very, I think, charming is the best way to describe it, but the ending left me feeling unsatisfied. I sat on it for a day, and then decided I needed to take another crack at it. The second time through, I began to pick up on a little of the nuance of disappointment Charlie has with her father, which I found at odds with the concept of the story. If the premise is that Charlie can see and hear her father’s thoughts and memories, then there shouldn’t be any vagueness on her understanding of his intention and thought process of those decisions. There are moments and lines that are dropped by Charlie about her father’s thoughts towards her, that you would believe would be difficult for her to hear, but these thoughts are treated like adjectives in describing a person’s hair color. In fact, at one point in the story, Charlie rhetorically asks what should be done with this overload of information that comes from viewing a person’s memories? Which causes Charlie to state, “Not every story needs to be told.”

    And I think that is where my issue with this story lies; why is this being told? If Charlie is not affected by her father’s memories; they neither make her happy nor upset, then why is this being shared? If you remove Charlie and the Collective Consciousness database, then this is a story of a consequential weekend for three men in 1965. But Charlie and the database is in there, so the question must be asked, as to why? Shouldn’t Charlie and her feelings towards what happened be paramount to the story’s resolution? And that right there is why the story felt unsatisfying for me; what does Charlie think about all of this? It’s like a punch got pulled at the very end.

  • Short Story Review: “Lu, Reshaping” by Madeleine Thien

    (The short story, “Lu, Reshaping” by Madeline Thien appeared in the December 20th, 2021 issue of The New Yorker.)

    Over the past year, I have been asking myself, why do I like short stories so much? I would rather read a short story collection than a novel. I think it is a very challenging form of storytelling that fails more than it succeeds. For a writer to make a reader care about a story in a thousand or so words is impressive. To make a reader identify with a character is the same space of words, well, that’s impressive.

    “Lu, Reshaping” by Madeline Thien is a story about a character going through a midlife crisis, and I am not being flippant with that description. As a white male entering the early stages of midlife, these stories have a certain appeal to me. (In fact, I would dare argue that there is a whole unidentified genre in literature of novels about white men going through a midlife crisis, which normally involve affairs, children and/or a spouse who no longer understands, and ends with a death.) I feel like Thien took all of those midlife crisis tropes, and with her character Lu, feed them in and created a different but also familiar result.

    I don’t want to give anything away with how the plot unfolds, because of the language that Thien uses to describe situations, and also Lu’s use of phrases from Cantonese that are translated into English. I loved the words that were crafted for this story, and how they transferred the feeling of loneliness, of life passing you by, and questioning the decisions one has made, and that search for happiness, however fleeting, but also being adult enough to know that momentary pleasure should be let go, and not thought about again.

    Lu is not like me. She is a woman, immigrant from Hong Kong, English is not her first language, she is a mother, working a corporate job in, what I think is, Vancouver, and in a marriage that is not fulfilling. But, I could understand where she was coming from, what she was feeling, and how she viewed life. I was especially taken by a sentence in the last paragraph:

    One day, you were an immigrant, loaded down with inexplicable shame; the next you were middle-aged, a mother, and all the risks you’d taken – to live freely, to not be subdued – also made you feel ashamed, as if you’d done nothing but kick tangerines around.

    I understood where Lu was in her life. How ramifications from past decisions can shape how we evolve to the next version of ourselves, even though some emotions never ever leave us, no matter how much we change. All of that is a few words.

  • Short Story Review: “A Shooting in Rathreedane” by Colin Barrett

    (The short story, “A Shooting in Rathreedane: by Colin Barrett appeared in the December 13th, 2021 issue of The New Yorker.)

    This was a good, old school, short story. “A Shooting in Rathreedane” by Colin Barrett even starts off with a good title. A shooting is dramatic; what happens?

    Not making lite of the story, but to sum up – The local police are called when a shooting happens on a remote farm in the Irish countryside. The police and an ambulance arrive at the farm, and then there is the fall out of all of these actions.

    Yet, what really happens is this story is seeing characters unfold. Our protagonist is Sargent Jackie Noonan, a forty-five-year-old police woman, and I liked how Barrett kept dropping these little nuggets of her personality as the story developed. The way she drank her coffee, took notes, talked to other officers. And though the story clearly was meant to stick with her, the other characters who came along were all given depth, and actions that fit accordingly to their characters. I also appreciated that the solving of the shooting wasn’t the point of this story. That the shooting was the starting off point to watch how these characters interacted and dealt with the situation. The story also did a very good job of avoiding cliché traps, that I think lesser writers would have fallen for. The caveat to that statement was I found the run in with the local teenagers predictable, but that is a minor critique.

    And when I said old school before, this story reminded me of the short fiction that was assigned to read in high school, like in a Sherwood Anderson ilk. Not that Anderson ever wrote like this, and I can also say that Anderson is the wrong author to compare Barrett to. (Go with me on this…) It’s the feeling that both authors created characters in rural places that were compelling, and you wanted to know what they are going to do tomorrow because you felt you knew them. As “A Shooting in Rathreedane” concluded, I wanted to know, what is tomorrow going to be like for Sgt. Noonan?

  • Thanks, Uncle Rene

    My uncle died this morning. It was my mom’s brother.

    He was the uncle who encouraged me to read books, write, go into theatre, and move to New York. When I graduated high school, he took me to a book store and told me to pick out whatever I wanted. And then he added other books he felt I should read. He was also the person who suggested that I get a subscription to The New Yorker. You could talk to him about anything because he seemed to know a little about everything.

    I have reached the age when I can now full appreciate the gifts God has given me, and for some reason, God feels compelled to take them all back.

    But my uncle was a priest, so I bet he’d tell me to go easy on God.

    Because no one really leaves you if you love them.

    And I know he loved me.