Recently I’ve decided to read and review what are generally accepted as the best short story collections by living American writers. With publication of All Things All at Once (Norton, 365 pages), Lee K. Abbott, widely acknowledged as a “writers’ writer,” has seven collections of stories in print. His work has appeared in some of the most highly regarded literary journals. In addition, his stories have been featured in Best American Short Stories and have won O. Henry awards. This most recent collection features new stories, plus several previously published.
Two professors of literature, old friends, one in England (RD, our narrator), one having emigrated to Australia (R), are writing letters to each other. This suggests one of the many metaphors in The Trick of It (Viking, 1989, 172 pp.): “Forgotten questions and meaningless answers passing each other somewhere over the Indian Ocean at thirty thousand feet—an image of human communication. Of love and literature and life.” So is this an old-fashioned epistolary novel? Far from it. The Trick of It is a marvelous, sparkling-new one-way-epistolary and modern piece of metafiction. I would rank it right up there with Don DeLillo’s White Noise as one of the great comic novels of the twentieth century. Continue reading
In a recent rant I wrote on the sad state of the contemporary American short story, I railed against what is sometimes known as ‘The New Yorker story,’ that all-too-common pedestrian thing called “domestic literary fiction.” Happily, there are always exceptions to egregious trends, and George Saunders (Tenth of December, Random House, 272 pages), who is a contributor to The New Yorker, is a big one. Exception, that is.
How is his fiction different from the normal, run-of-the-mill domestic stuff—the kind of fiction I can’t stand? A good place to begin would be with a comparison between his Tenth of December and another book of short stories recently published, The Refugees, by Viet Thanh Nguyen. I picked up Nguyen’s book with high expectations, having read his novel, The Sympathizer, which has great writing, wonderful sentences on every page.
THE GREAT AMERICAN BOONDOGGLE
(The Sad State of the American Short Story)
The situation has been the same for years. Nothing ever seems to change and practically no one deems it necessary even to talk about it. Almost forty years ago a colleague at the university where I taught, a lifelong reader of The New Yorker and a person whose intelligence I respect, said to me, “I love The New Yorker, but I never read the fiction. ‘The New Yorker story’ does not appeal to me.” In a visit to my general practitioner a month ago, the doctor, an avid reader of classical literary fiction—the canonical literary works of the world—remarked, “I love the articles in The New Yorker, but I never read the fiction. Most of it is a total bore.” Over a period of forty years how many other intelligent readers of fiction have said the same thing? Repeatedly. Why is nobody listening? Continue reading
In Julian Barnes’ novel, The Sense of an Ending (Penguin Random House, 2011), we meet a narrator in the long tradition of the sad-sack loser telling his story. Anthony (Tony) Webster, resident of London, now in his sixties, looks back on his life from present time. The novel begins as Tony recalls his days as a student, a time when his life appeared to have a good deal of promise. We meet him as a teenage schoolboy in a public boys school—“public” being the British for “private”—pondering, along with his best friends Alex and Colin, certain grand philosophical issues, such as What is history?
“All were in sorrow, or had been, or soon would be.” (Roger Bevins III, p. 304)
Okay, so what happens when we die? Writers of fiction have been peering across into that unfathomable abyss from time out of mind. You might even say that this is what great fiction writers do: they look at the grand questions, and especially at immortality, or the lack thereof.
George Saunders’ rather ironic take on the afterlife (Lincoln in the Bardo, Random House, 343 pages) goes roughly like this: after death some of us get caught up in the fulgurant thing called “the bone-chilling firesound” of the “matterlightblooming phenomenon.” Amidst lots of explosions and smashing to smithereens—imagine something like the shoot-em-up-blow-em-up special effects of Hollywood—this phenomenon transports us off to . . . well, the author never tells us exactly where. Is it a nice place? That’s a good question. At times there are suggestions that it might be fine, but only for the better-behaved of human beings in their fleshy existence, and not even for all of them. Continue reading
The Idiot (Penguin Press, 423 pages) is a debut novel by a young writer who promises to do big things in the future. Apparently the title, borrowed from Dostoevsky, refers to the main character and narrator of the story, Selin Karadag (the g is silent), who is a young woman from New Jersey of Turkish background (like the author herself). Far from being an idiot, Selin—in this novel prominently featuring words and languages—is highly intelligent. At age eighteen, as she enters Harvard University, she already speaks English and Turkish fluently, has a passable knowledge of Spanish. Over the course of the book she studies, as well, Russian and Hungarian. Her quest for new words is insatiable. Continue reading