I remember reading the "The Pugilist at Rest," "The Black Lights," and "The White Horse" in The New Yorker, "I Want to Live!" in Harper's, and "RocketI remember reading the "The Pugilist at Rest," "The Black Lights," and "The White Horse" in The New Yorker, "I Want to Live!" in Harper's, and "Rocket Man" in The Mississippi Review before the collection came out. They were just blammo! Voice driven maximalism. Like nothing else. As were the rest of the stories in the collection. Narratively all over the place, unstructured at times, and yet that narrative voice, unrelentingly in your face. You will hear this! The voice drenched in macho, too. Even the two women narrators have big cojones. That was a strike against, even in the early 90s. National Book Award finalist was surprising, as were stories in the Best American Short Stories anthology three years in a row. The voice so strong it couldn't be denied. Reading these stories again was exciting. Those narrative voices still so adrenalized. Still rare....more
Collects stories from his previous collections, so if you haven't read those you could just start here. Has three stories not previously collected andCollects stories from his previous collections, so if you haven't read those you could just start here. Has three stories not previously collected and two of them come last in this book: "Shiloh" and "Outlaws," which I think are two of his best stories. Imagine there is a logic to the arrangement of the stories, but I wasn't going to reread them all just to try to figure that out. Not chronological or arranged by collection, so he might be saying something by how they are ordered, might provide a different reading experience if you are inclined to read them in order....more
Rash has received more accolades for this collection but for me it is just so-so. In some ways his craft is so carefully executed at deep layers that Rash has received more accolades for this collection but for me it is just so-so. In some ways his craft is so carefully executed at deep layers that it takes all the edge away. None of the stories excited me in this collection the way some did in the earlier collections. I can marvel at the craft - his mastery of description, characterization - without having that wow, this is a great story moment. His endings might be a factor: quiet, vague. He's probably trying to be open-ended but a lot of them seem to end with a whimper. My favorite story was probably "Night Hawks," which had a bit of an edge to it. I liked the reversal in "The Trusty," however, just could see it coming from too early in the story so it felt flat when it happened at the end....more
Maybe a little disappointed after reading Lauren Groff's exceptional introduction as it seemed despite her expressed criteria there was a bit of an agMaybe a little disappointed after reading Lauren Groff's exceptional introduction as it seemed despite her expressed criteria there was a bit of an agenda in the selections, but maybe that comes from the series editor's preliminary screening. I struggled through all but 8 of these stories. A few were exceptional and I look forward to reading more from those writers. The first story that grabbed me was the sixth, "Wisconsin" by Lisa Taddeo, which was recognizably human in that it took the character on an unexpected experience through loss, trauma, and healing. So it was enlarging in that sense. It didn't try to veil the human experience in allegory or metaphorical activity. Seemed more about dealing with life than trying to be an artifact of writing—and yet it is highly crafted. 'Pemi Agoda's story "The Hollow" is another story dealing with trauma. Dense, beautiful, unique language and a threaded structure which uses architecture and musings on "what is a house?" to discover meaning. "After Hours at the Acacia Park Pool" by Kirsten Valdez Quade is a coming of age story with a detailed exploration of the character's inner consciousness that explores a wide range of emotions. There's a stunning objective correlative that elevates the climactic scene. The story has a tight arc based on an emotional journey, yet overflows from the welter within. "Temporary Housing" by Kathleen Alcott is an intense story of a painful relationship and painful addictions that is full of private language, or language that is evocative but non-specific. Language stating emotion, but in a more poetic and literary way that is indirect, distancing, yet also recognizable. Just wish it weren't a suicide story. "Ira and The Whale" by Rachel B. Glazer is a surreal story set in the belly of a whale but it is all character-based and life-reflecting. The setting is used to bring out character stuff that would be too on the nose if set in a more "realistic" situation. The tactile descriptions inside the whale's belly are fabulous....more
Several of these stories have long meandering beginnings over a few pages in which it is not clear what the story is going to be about or even what kiSeveral of these stories have long meandering beginnings over a few pages in which it is not clear what the story is going to be about or even what kind of story it is and regardless what follows that kind of story is not to my liking. Some tasty stories in this anthology, however, by some big names: Walter Mosely, Joyce Carol Oates, S. A. Cosby, and Jess Walter. Loved the sci-fi/crime hybrid by Annie Reed: "The Blood Red Leaves of Autumn." My favorite, though, was Anthony Neil Smith's "The Ticks Will Eat You Whole."...more
First thing to note is that the title story appeared in The New Yorker and the other two novellas are republished from her other collections. So not nFirst thing to note is that the title story appeared in The New Yorker and the other two novellas are republished from her other collections. So not new material. If you haven't read Keegan before these repurposed pieces are a good introduction. All exquisitely crafted.
"So Late In The Day" is a day in the life of an empty man, but not just any day. To say more would be a spoiler. For this to work you have to grant the assumption that the focal character is truly empty, that he doesn't instead have a set of misogynist feelings. Does being uncaring equate to being devoid of feelings? That seems to be Keegan's presumption here. What wasn't clear is why Sabine would ever be interested in this guy to begin with? That seems a weak point in the story. Overall, though, a brilliant portrayal of emptiness, and misogyny.
"The Long and Painful Death" is essentially about the creative process, showing how procrastination (blockage) gives way to expression, using a stay at Heinrich Boll's house as a vehicle, with a prod from a retired German literature professor.
"Antarctica" is a cautionary tale in the be-careful-what-you-seek variety when a too good to be true weekend fling turns into something far darker....more
Some of these stories are like riffs by soccer moms - you see them in their minivans, with their kids in stores, and if you wonder what's going on in Some of these stories are like riffs by soccer moms - you see them in their minivans, with their kids in stores, and if you wonder what's going on in their heads, well these stories give a glimpse. That's a bit reductive, but reflects the vibe some of the stories have. Nearly all of the stories are extended slice-of-life pieces, typically ending with a new inciting incident, so stopping precisely where we ask, okay, now what? Although I enjoyed the look into the character's worlds, I found this structure, which felt more like sections removed from a novel, unsatisfying as stories....more
Several of these stories portray, through shocking glimpses, relationships that have become filled with harrowing hatred. Another is an existential meSeveral of these stories portray, through shocking glimpses, relationships that have become filled with harrowing hatred. Another is an existential meditation in a psych ward for post-abortion women, with the focal character having administered hers DIY. Also a few set pieces, intense short-shorts, not quite flash fiction. Throughout, Galloway's writing is full of concrete imagery, surprising figures of speech, and blended emotional tableaus. ...more
Seems miraculous that such subversive stories could become so popular even in the 1950s. Usually I go back to the The Complete Stories when I reread OSeems miraculous that such subversive stories could become so popular even in the 1950s. Usually I go back to the The Complete Stories when I reread O'Connor, but I went for this newer edition because it has a great introduction by Lauren Groff and the Audible version narrated by Marguerite Gavin, which I've also been listening to, is sublime (she even sings!). I first read the title story in freshman English way back in high school, studied it again in college, and many times since, but have to say that listening to it read by Gavin is a revelation. I was walking while listening and when she got to the final section I actually stopped and just stood there, probably with my mouth agape: the pacing of the gun shots, the toe, then the gun butt, scratching a hole in the dirt, the parrot shirt thrown over The Misfit's shoulder, and his final pronouncement. The word is overused, but it is the right one: chilling. Hearing the story read, with the pacing of speech as opposed to the pacing with which the eyes read, opens the story wide because the mind has time to make the interpretative leaps in parallel while listening. Gavin's narration, with her accents and intonations, brought all of these stories to life for me in way I really couldn't have anticipated. Now when I read them I notice subtleties I'd missed in repeated readings and it also makes me go back and listen again, especially to the dialogue (is it possible to say that O'Connor is underrated for her mastery in that regard?)....more
Went out for a short hike and listened to Cheever read this story. (As an aside, does listening count as reading? The way the narrative enters conscioWent out for a short hike and listened to Cheever read this story. (As an aside, does listening count as reading? The way the narrative enters consciousness in the two modes is strikingly different, and the affects likewise, the emotional resonance. I've been listening to as many of my favorite stories as I can find and this question of the difference between reading and listening keeps batting around; yes, that's the pickleball ttwwapp ttwwapp you hear emanating from my noggin.) This is another one of my favorite stories that I've read and studied for years and also one of Cheever's best. Reams have been written on it. Legend has it that Cheever distilled (wink) these ten pages down from 150 pages of notes. I believe it; how else to achieve this? Certainly not something you write in the time it takes Neddy to swim to that driveway with the gutter hanging down. Anyway, I highly recommend listening to Cheever read this story. His patrician voice and intonation may just leave you feeling by the end as his swimmer does....more
Published in 1977, the first of three anthologies of biker fiction culled from Easyriders magazine. Written by bikers for bikers. Some of these were wPublished in 1977, the first of three anthologies of biker fiction culled from Easyriders magazine. Written by bikers for bikers. Some of these were written from within the penitentiary and the flavor of the stories shows you why they're inside. Epic runs, bar brawls, and initiations. Energy and chaos are the norm. There's a raw intensity to these stories that feel told rather than constructed....more
Love the cover of this 1962 anthology edited by Charles Beaumont whose one-paragraph introductions to the stories are wonderfully offbeat and absurd aLove the cover of this 1962 anthology edited by Charles Beaumont whose one-paragraph introductions to the stories are wonderfully offbeat and absurd and the surprise of this collection. Sixteen stories, including one by Beaumont ("Perchance to Dream"), and two by his Twilight Zone compatriot Richard Matheson. There's stories by Fritz Leiber, Robert Bloch, Henry Slesar, and Ray Bradbury. Tough to choose a favorite, but "Big, Wide, Wonderful World" by Charles A. Fritch is in the mix. Most of these stories are less than ten pages and the economy with which they displace and disorient is impressive....more
I have pretty much the same thing to say about this collection as I did his earlier collection Chemistry. Some of the stories in this one received morI have pretty much the same thing to say about this collection as I did his earlier collection Chemistry. Some of the stories in this one received more recognition (two selected for BASS, and a third as a notable), but I didn't find those stories more elevated than the ones in Chemistry. Plenty of great moments in these stories and cumulatively this is a powerful collection, although none completely blew me away from beginning to end....more
The story is 48 pages. Followed by 56 pages of annotations. An only somewhat tongue-in-cheek reading plan is to read it straight through and then go WThe story is 48 pages. Followed by 56 pages of annotations. An only somewhat tongue-in-cheek reading plan is to read it straight through and then go WTF? Read it again, this time flipping back and forth between the story and the annotations and go WTF? A more ambitious, but also perhaps an easier approach, is to photocopy the annotation pages, number the annotations, then read the story again and highlight the passages that have an annotation (don't forget to number the highlighted passages so they are sync'd with the annotations; seriously, you don't want to have to do this again). Not saying this method vacates the WTF, probably only changes it to FU Beckett. Maybe it helps to know that this was intended as a final story for the More Pricks Than Kicks collection, however, Beckett had killed off Belacqua in an earlier story, so he's dead in this one. Can't remember, did Harold Bloom have Joyce as Beckett's anxious influence?...more
Although none of these stories had me initially saying "wow, that's a great story," the collection as a whole punches way above its weight. Not a weakAlthough none of these stories had me initially saying "wow, that's a great story," the collection as a whole punches way above its weight. Not a weak story in the bunch. Rash's command of craft is impressive on all levels. Most of the stories turn on small moments that in isolation wouldn't necessarily stand out; it's Rash's treatment, his focusing, that elevates them to storyness. He makes those moments storyable. Reminds me a bit of Carver because these are moments of desperation where language often fails the characters. As readers we feel what they cannot say. Some stories take a moment of closure and build around and to that moment. Other stories just kind of end, with the closure coming, but then Rash takes it away in the concluding paragraph with an anti-closure move indicating that the story continues without us. This technique kind of fits with what Susan Lohafer termed pre-closure, the point where we don't need more from the story. Most writers continue beyond that point. Rash doesn't. Makes the stories linger in the mind afterward. Might also explain why he turns some of his stories into novels. The last two in this collection, for example, both were expanded into novels later....more
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