"Shelter" (Charles Baxter) -- This is the first Baxter story I've read, but when I began writing fiction a couple of months ago I was greatly influenced by his how-to book, Subtext, which I am reading straight through for a second time. "Shelter" is in Baxter's collection A Relative Stranger & it's an effective story, though it feels just a tad too polished, perhaps only in contrast to the more inelegant Andre Dubus stories I've been gulping down recently. "A Day in the Open" (Jane Bowles) -- Reads like Chekhov transported to north Africa. Everything is dramatized. Nothing happens but everything happens; or, things happen but they are presented so neutrally that every event -- the important & the unimportant, the dramatic & the prosaic, the significant & the insignificant -- all have equal weight. Absolutely no moral judgments are made. "The Man Who Knew Belle Star" (Richard Bausch) -- This is a story about the absence of human feeling. The outlaw's language is perfectly flat, implacable. The tough guy who picks her up hitchhiking has been in trouble, been in prison, but has not left the human world, which Belle has done, completely. Technically, a slow build, the final violent act taking place beyond the narrated time of the story. "Where Are You Going, Where Have You Been?" (Joyce Carol Oates) -- Like "The Man Who Knew Belle Star," this story builds relentlessly through repetition. In both stories, the dangerous character is presented as having a flat affect, a profound disconnect from ordinary assumptions about good & evil. Again, the final violent act occurs after the narrative time of the story concludes. "In the Zoo" (Jean Stafford) -- I vaguely knew that Jean Stafford had been married to Robert Lowell, but hadn't read any of her stories until this one, which I found in The Granta Book of the American Short Story. This is a bitter but still comic story of two orphan sisters sent to live with a guardian, Mrs. Placer, in a small town in Colorado. The most audacious thing about the story is that they are not clever girls and they do not succeed, really, until their guardian removes the weight of her presence by dying. There is beautiful and harrowing writing about animals in this story. [Good brief discussion of the story here.] "Chan Tha" (Tran Thuy Mai) -- I read an interview with Mai several weeks ago in the Vietnam News and asked my friend Ly Lan about her. Turns out Lan & Mai know each other, though they haven't met for years. Lan sent me a couple of stories, "Chan Tha" being much the stronger of the two, I thought. The problem was that it was badly translated. It is common among Vietnamese intellectuals to deny the well-known bit of translation theory that says the final translation of a story or poem ought to be done by a native speaker of the target language. So I retranslated the story over the last couple of days, brining it into idiomatic English. The story takes place during the Cambodian-Vietnamese war (1975-1989) and involves a love story between a Vietnamese soldier and a Cambodian girl. What makes the story work is the detailed and specific use of incident -- a braiding of four meetings between the two characters -- that is echoed in a braiding of images throughout the story. "A Poetics for Bullies" (Stanley Elkin) -- Elkin sets himself the task of portraying a bully from the inside & except that the first person narrator seems more literate than he ought to be, succeeds in excruciating detail. And the foil, the good boy, the hero, John Williams, is perhaps too good.