Flash fiction has enjoyed a boom in recent years but sometimes overlooked are shorter prose forms which don’t respect the conventions of flash—e.g., at least an implied plot or hint of closure—in order seek out other literary effects. Thomas Walton’s All the Useless Things Are Mine: A Book of Seventeens (Sagging Meniscus, 138 pages) is an intriguing entry into this field. It is both experimental, in the sense that there isn’t really a label for the genre, and traditional, for it deploys aphorism and image in a manner which is readily accessible, despite its peculiarity.
The author calls the pieces in this collection “seventeens” because each freestanding entry is composed of exactly seventeen words. A few pieces are titled, but most are not, and the book is arranged in 26 chapters with titles like “Animal Sketches,” “Art Criticism” and “Birdsong.” The fixation on seventeen words recalls the haiku form, which in its English rendering is typically composed of seventeen syllables in three lines. Here, though, instead of relying on poetry techniques like line breaks or rhythm assisted by white space on the page, Walton opts for a “prosier” approach, working with short, punchy sentences. Continue reading
Was it the intention of Randall Brown or his publisher to make a statement by putting the word “stories” on the cover of This Is How He Learned to Love (Sonder Press, 88 pages)? I don’t know. Of course, it’s a convention to tag book titles with explanatory genre labels such as “a novel” or “stories” or “a memoir.” But Brown is a particular case. He is a prolific and expert writer of flash fiction as well as the author of A Pocket Guide to Flash Fiction. He also writes longer forms (see his novella How Long is Forever), but it’s not unreasonable to think of him as “Mr. Flash,” one of the chief exponents of the form in America. Continue reading
When does a presence become a force to be reckoned with? A few years ago, I became aware of Stephanie Dickinson because her name often appeared in literary magazines. She was a prolific writer, popping up in many places. I’d read a few of her flash pieces, which were strong in imagery, but I’d never read an entire book of her work until now. Her latest collection of short stories, Flashlight Girls Run (New Meridian, 254 pages), has made me sit up and pay attention. Continue reading
Good book titles play with a reader’s expectations. A short story collection called The Surprising Place (University of Massachusetts Press, 197 pages) might seem to imply an emphasis on locale, a Winesburg, Ohio-ish evocation of a town and its inhabitants. And, in fact, this volume of stories takes its title from a former promotional slogan for Des Moines, Iowa, which provides the backdrop for most of the action. Still, what is “surprising” in Malinda McCollum’s excellent new book and winner of the Juniper Prize for fiction is not a matter of geography, in the prosaic sense. Rather, it concerns a different kind of space, a province of heart and mind. For lack of a better term, you could call it interiority. McCollum offers intensely observed portraits of her characters’ internal struggles which are often unsettling and full of contradiction.
To describe a book as unclassifiable is, of course, to classify it, but that fact is entirely in keeping with the spirit of Jacob Smullyan’s Errata (Sagging Meniscus, 72 pages). Comprising thirty short chapters of mini-essays, stories and philosophical aperçus, it straddles numerous genres and grapples with the process of making sense.
The abecedarium has a long literary history, and some of its best-known examples, such as Ambrose Bierce’s Devil’s Dictionary or Gustave Flaubert’s Le Dictionnaire des idées reçues, play with the form’s implied authority for purposes of satire. Recently Matt Bell’s Cataclysm Baby used the template to convey hellish fragments of an environmental dystopia. Suzanne Scanlon, author of Promising Young Women (2012), turns to a woman’s experience in contemporary America and offers a probing and artful inventory in Her 37th Year, An Index (Noemi Press, 161 pages). Continue reading
“This morning I crossed a river on a horse made of lightbulbs.”
That’s just another day (June 4, to be exact) in Bob Schofield’s The Inevitable June (theNewerYork Press, 120 pages), an agreeably strange book structured around an unnamed narrator’s calendar for the month of June. Using text, cartoons and distinctive graphics, it is unclassifiable in terms of genre but it manages to create a self-contained world of its own. Continue reading
There’s a long tradition of writing about sport that tries to be more than writing about sport. Journalism, it seems, is not enough. The events of a game and the constraints of its rules become raw materials for allegory. Much fuss has been made in recent years about the rise of nonfiction and its power over the popular imagination—but when it comes to sport, the lure of myth remains strong. Continue reading
Ezra Pound’s observation that “literature is news that STAYS news” certainly applies to Road to Nowhere (Henry Regnery Company, 382 pages). This excellent novel, first published by a Polish exile in 1955, is consistently engaging and, for its aching, visceral power, still feels fresh. Given the unfortunate fact that Józef Mackiewicz is generally unknown in the U.S. and most of his work is untranslated or out of print, he might as well be seen as a new writer, as far as Americans are concerned. Considered in this light, he is quite simply the most intriguing new writer I have encountered in years. Continue reading
The premise here is interesting: an anthology of flash fiction with the bylines removed so that the reader can’t know the identity of the author. According to Nicole Monaghan, editor of this collection, the purpose is to question a reader’s assumptions about gender.
As an experiment, Stripped: A Collection of Anonymous Flash Fiction (PS Books, 102 pages) recalls I.A. Richards’ Practical Criticism and his withholding authors’ identities from his Cambridge students in the 1920s in order to come to grips with their literary values. It was a step forward in reading awareness. We live in a very different world now, to put it mildly—gender was not on Richards’ radar—but some of the same questions of reception persist. Continue reading