“Prime Evening Time” — Ward Just: Character study of an Army Captain home & working in the Pentagon after three tours in Vietnam. He has won bronze & silver stars & the Congressional Medal of Honor. Only a Captain, he’s on track to be a general. There really isn’t any external action in the story; all the action takes place inside the Captains personality. Not his mind, which seems blissfully blank, but his personality. The story presents the captain’s transformation from a soldier reticent to discuss his war experiences — he doesn’t even talk about them with his wife — to being a mouthpiece for the government’s war effort. He is seduced so easily by the television network that interviews him that he doesn’t even notice the seduction. In general, I find that Just is not a very good miniaturist — I find his longer fiction more effective than his shorter pieces. I like the novels best, then the long short stories; the shorter stories never seem to develop their worlds effectively. [From The Congressman Who Loved Flaubert.]
“The Hoaxer” — Walter Kirn: A razor-sharp portrait of a certain kind of American failure. The story is told from the point of view of the hoaxer’s son Travis, who is just entering adolescence when he discovers that his father is in the habit of creating crop circles, Bigfoot sightings, UFO scares & the like, as a hobby. The father, an autodidact (though of limited interests) who never finished his engineering degree, drags his wife & son from one city to another, where he takes low-level computer programming jobs so as to pursue his real passion, creating hoaxes. Told by the son, the story presents a father filled with resentments. [From 12 Short Stories and their Making.]
“Upon the Sweeping Flood” — Joyce Carol Oates: Motivation is a problem at the end of this story. It’s easy enough to imagine why the main character decides to drive into danger instead of away from it, but the murder he commits at the end of the story seems insufficiently motivated. A buttoned down businessman spends the night with a brother and sister surviving an horrific flood that, apparently, washes civilization clean out of him. If the point is that our civilized behavior is but a thin veneer, then the story is banal.
“Sacha’s Dog” — Karen Brennan: A effective story that, while it does not technically take the dog’s point of view, presents the world as a dog might experience it. Which means pretty much unrelenting cruelty & indifference — toward dogs & other humans — on the part of the characters. [From The Story Behind the Story.]
“Maggie Meriwether’s Rich Experience” — Jean Stafford: An early story about a young American woman whose fluent French deserts her as soon as she sets foot on French soil. The story takes place over the ocurse of an afternoon & evening in which she endures a snobbish outing to a country estate, at which she is the only American, followed by a dinner with American friends. [From The Collected Stories of Jean Stafford.] Note: I’ll be reading the whole book in the coming weeks and posting more on Stafford, whose work I find very useful to my own writing.
“The Interior Castle” — Jean Stafford: A study of surviving physical pain. Stafford herself was in an automobile accident that disfigured her face, though the circumstances a different form those of the main character, Pansy, in this story. The entire story takes place as Pansy recovers from a skull fracture and badly broken nose & details the ways in which she goes inside herself, into her “interior castle,” which is how she imagines her injured brain. The story is clinical & the narrator dispassionate, rendering the pain in excruciating detail. [From The Collected Stories of Jean Stafford.]
“The North Shore, 1958” — Ward Just: A long, sprawling, inelegant, but very effective story about a particular slice of American cultural history. I like Ward Just because he finds ways to get, not just politics, but the arts, too, into his stories as motivating presences. In this case, some Edward Hopper paintings at the Art Institute of Chicago. Just’s characters sometimes tend to be types rather than individuals — saved because they are interesting types. [From The Congressman Who Loved Flaubert.]
“A Wife of Nashville” — Peter Taylor: Beautifully stylish story with a structure that parcels out the plot according to the timeline of a family’s hired help. A series of maids define the southern, middle-class Depression-era life of the story’s point of view character. How the spirit is made and destroyed. Makes me want to read more Taylor. [From Narrative Design.]
“Depth Charge” — Craig Bernardini: I found the management of detail and action in this story confusing, though once the reader understands the situation & setting, the final action is powerful. This story suffers from a common problem in contemporary fiction, unclear motivation. Or merely mystifying motivation. [From Narrative Design.]
“Daisy’s Valentine” — Mary Gaitskill: Well, it’s a story about a bunch of losers in the city & it generates no sympathy for any of them, which is a problem for me. (In my own attempts at fiction, I am probably too sympathetic toward my characters.) The scenes are drawn very clearly & the pieces of the story — especially images — go together in ways that suggest (without hammering on) thematic concerns. [From Narrative Design.]
“Strike Anywhere” — Antonya Nelson: More of a series of scenes implying a story than an actual story. Seems not to take responsibility for formal completion. [From The Story Behind the Story.]