I got a neat book in the mail the other day out of the blue. It’s a smartly packaged collection of drawings by an artist named Don Nace. The book is called Drawn Out. Nace’s strokes are like dark scratches on the page, and at first glance the drawings seemed full of tiresome, and possibly adolescent, angst. But after only a few pages I found myself quite mesmerized – drawn in, as it were – by the deceptive simplicity, the deep emotion and dark humor of the drawings. Thanks to a pointer from Ron, I see that Nace has a website where he posts a new drawing nearly every day. It’s worth checking out.
Fans of historical fiction set in far flung lands will likely enjoy Jane Alison's new book Natives and Exotics. It's a multigenerational tale set in South America and Australia that spans the twentieth century. The publisher notes liken the book to W.G. Sebald's The Emigrants, which is a lot to live up to. PW describes the book thusly: "More impressionistic than narrative, Alison's third novel is a lush evocation of the way people love and alter (and are altered by) the environments they inhabit."Closer to home is Steve Amick's debut The Lake, the River & the Other Lake. The center of the book is the small town of Weneshkeen, Michigan. And as is so often the case, this small town buzzes with odd characters and neighborly conflicts which are exacerbated by the summer presence of inconsiderate tourists. PW says this: "Bitterly comic and surprisingly meaty, this roiling tale of passion, anger, regret and lust is dark fun for the Garrison Keillor demographic." So I guess it's like a much less saccharine Lake Wobegon. There's an excerpt available here. And if that's not enough for you, try this short story from the Southern Review.Rick Bass' new novel, The Diezmo, is garnering comparisons to a pair literary adventure classics, The Red Badge of Courage by Stephen Crane and Cormac McCarthy's Blood Meridian, both favorable and unfavorable. Still, I love this sort of book so my interest has been piqued. Bass' setting for the novel is the rough borderlands between Mexico and the Republic of Texas in 1842. Here's a mixed review of the book from the Denver Post, and here's an excerpt so you can make up your own minds.Ann Beattie doesn't need much of an introduction. She's one of America's better-known short story writers, and her latest collection, Follies received the hard to come by Michiko Kakutani seal of approval with the declaration, "Ms. Beattie has hit her stride again." Here's an excerpt.
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Recently, the innovative literary magazine One-Story launched a campaign to "Save the Short Story." As the essay below suggests, we at The Millions found this effort admirable, and also puzzling. Is "the short story" even a single thing? And, if so, does it need saving? On both questions, the evidence seems mixed. We can agree, however, that short stories seem to have lost some of their prominence in the popular imagination. Mainstream book coverage tends to track the agendas of the publishing industry; those agendas, in turn, tend to be driven by coverage. With our "Short Story Week," we aim to subvert the cycle. Between now and Friday, we hopeto revisit the work of living masters,to celebrate the writers who paved their way,to talk a bit about teaching the short story, and writing it,to link to interesting short-story sites and periodicalsto provide a selective bibliography of our favorite story collections,and, as always, to hear from you.In short: we hope you enjoy it. We'll be linking to the week's installments below.Inter Alia #8: Whither the Short Story?On BrevityExpat Laureate: Paul Bowles's Too Far From HomeThe Elusive Thread of Memory: The Displaced World of Mavis GallantAdventures in Consciousness: A Review of Deborah Eisenberg's Under the 82nd AirborneSome Recommended Short FictionAnthologies EvolvedAnd May We Also RecommendShort Story Week LinksOn Our Shelves: 45 Favorite Short Story Collections
If I had any sway in Hollywood, which I don’t, I would currently be urging Spike Jonze, Dave Eggers and the brass at Warner Bros. to begin an aggressive Oscar campaign for Where the Wild Things Are. But not for the actual film, no way (maybe cinematography). I’m talking about the trailer. I know, I know. Trailers can’t win Oscars, much less be nominated. But what if it wasn’t submitted as a “trailer," but as a “short film?” A really short film. A film that run less than two and a half minutes in length. Why not? I hate to say it, but the film left me cold for the most part. However the trailer was and remains to be a revelation. I remember sitting in the theater and seeing it the way I remember seeing full-length films. It all begins so quietly, forest sounds and footsteps. We see Max, in his famous wolf suit, being carried by one of the Wild Things. As if to prepare the audience for the experience that is to come, the Wild Thing says to Max “I really want to show you something.” In the remaining 90 or so seconds we learn that Max is a lonely child, he runs away from home, takes a boat over rough seas to an island full of Wild Things and has many adventures. That is the book. The pace of the trailer speeds up, emphasized by the brilliant musical backdrop Arcade Fire's “Wake Up”. I was so hoping to hear this song in the finished version, but that didn’t happen. As we near the end, nearly every character is running, playing and behaving like real children behave. Spike Jonze says that this is a film about childhood, not necessarily a film for children. If he is talking about the trailer, he is absolutely right. One of the main criticisms of the film has been the argument that there simply wasn’t enough content in the source material to warrant a feature film. After seeing the film, I spent the better part of two weeks trying desperately to find some way to disagree. But I can’t. Part of this could be attributed to the ridiculously high expectations I brought with me into that theater. What was I really expecting, some sort of transformational experience? Yep. Call me crazy, but I was absolutely certain that I would have some sort of epiphany by the time the end credits were rolling. Why? That damn trailer. I won’t say that I was depressed about the overall film experience. But then again, I can’t think of any other accurate way to express how I felt. A few days ago, for reasons I can’t explain, I felt the urge to see the trailer again. There have been several versions since that first one, some edited differently, some made for television. It took a few minutes to find the original cut. But when I watched it again, I realized that I had no reason to be depressed. Sure, the film was a letdown, but I didn’t need it. The experience I longed for was fully contained in this little gem. The emotions, the energy, the music, it was all there. The same way a tight little pop song can be more effective and memorable than a lengthy concept album, this trailer captured the spirit of Maurice Sendak’s book in its entirety. I don’t regret my Where the Wild Things Are experience in any way. I’ve come to think of the full-length film the way I think of those indulgent overlong director’s cuts that always seem to show up on DVD. I know what the real film is and it doesn’t bother me at all. I feel bad for Spike Jonze, but I don’t blame him. He set out to make something great, and in a roundabout way, he has. He has created one of the best (and certainly most expensive) short films in the history of cinema. And I, for one, am thankful. See Also: The Savages: Where The Wild Things Are, Revisited
On January 19th, while many of us held our collective breath over the results of one national contest, the American Society of Magazine Editors released their list of finalists for the 2017 National Magazine Awards for Print and Digital Media. Curiously absent from the announcement were nominees in fiction, which ASME chose not to promote for the first time in nearly 50 years. The announcement made no mention of the category’s sudden disappearance. For Michael Ray, editor of Zoetrope: All-Story, the distinction was particularly significant. Writing last Thursday via email, he said the award “breached the ostensibly isolated atmosphere of literature and recognized the fiction writer among a broader peer group of writers and before a more diverse and populous audience of potential new readers.” Anthony Marra, whose 2016 NMA winning story, “The Grozny Tourist Bureau,” Ray edited, expressed his disappointment in ASME’s omission. “Writing, editing, and publishing short stories in literary magazines is a labor of love for all involved,” he said. “They aren't clickbait. They don’t make much noise or much money. And yet the best of them long outlast the paper on which they were first printed.” While ASME has retained the category of “General Excellence in Literature, Science, and Politics,” such broad scope leaves little room for individual recognition, instead favoring the total yearly production of a magazine over excellence in a single piece. This year, Poetry is the only literary magazine nominated in that category. Last September, Women’s Wear Daily released an email circulated to editors around the magazine industry from ASME Chief Executive Sid Holt. In what amounts to the closest document to a public announcement, the message cites declining fiction entries and, most surprisingly, concern that “few ASME members say they are competent to judge the category.” ASME’s website describes its members as “senior editors, art directors, and photography editors employed by qualified publications.” Susan Russ, senior vice president of communications at ASME, said that with the diminished numbers of submissions, fiction entries had “less than a fifth the number of entries [than] comparable categories.” While the decision to “suspend” the category, she said, “was not a judgment on the value of fiction or [ASME’s] ability to judge entries,” it is unclear -- outside of an attendant fall in submissions fees, perhaps -- how the small pool affected the organization. The arts face an almost certainly precarious future. As a genre, short fiction has long struggled with recognition, and is too often minimized as a stepping-stone to more serious literary enterprises. According to Russ, “ASME is considering alternative ways of honoring fiction,” leaving open the possibility of a new award outside the existent NMA format. But such a move could further isolate fiction from the rest of print culture. It’s entirely possible, however, that fiction may be back for next year’s contest. Losing touch with the power of writing is not something we can now afford to risk. And National Magazine Award or not, over the coming years, we’ll be needing all the good stories we can get. Image Credit: Flickr/Phil Roeder/Ken Hawkins.
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I spotted this essay by James Wood in the Guardian about endings that disappoint. I agree that there is hardly anything more disheartening than a novel that just peters out at the end. To me reading a book is like making an investment. You put in the time, and at the end you hope to walk away with some pleasure. A bad ending screws up the whole arrangement. I tried to think of some really good endings and off the top of my head I came up with a couple. In terms of paying off on an investment, one of my favorites is John Irving's A Prayer for Owen Meany. The "a ha!" moment is almost too perfect but Irving has set it up so well that you can't help but believe it. Another great ending that comes to mind is John Steinbeck's East of Eden. After such a long journey, one almost expects the book to run out of steam, but Steinbeck magnificently collects everything together at the end and sends you out of the book with real emotional force. When I read the last words of that book and put it down, I said to myself, "Wow, that was worth it."