“The short story is an odd form, forever dying out or undergoing a revival, impossible to define, sometimes seeming to be united by being nothing more than a text which happens to occupy around thirty pages or less: novels for people who can’t be arsed reading novels. Yet the best stories in both of these books show what the form is capable of: the world reflected in a puddle, the light gleaming for an instant, fireflies.” C.D. Rose reviews New American Stories, edited by Ben Marcus, for 3:AM Magazine.
“‘I just want to be normal,’ she said, even though she had amazing powers and a super-family and was mega-gorgeous and better than normal in every way and the entire book would be terrible if she were normal and she had no conception of what normal was to begin with.” At The Toast, Mallory Ortberg lists flaws only a protagonist could have.
How do you write an accurate memoir without perpetuating stereotypes? Jesmyn Ward struggled with this when writing about absent black fathers and husbands in her book Men We Reaped. “I also had to figure out how much of the truth do I tell, how do I make the truth as balanced as I possibly can? How do I make these people as complicated and as human and as unique and as multifaceted as I possibly can? For me, that was the way I attempted to counteract some of that criticism,” she told The Rumpus.
In today’s NY Times, former Simon & Schuster executive Joni Evans ruminates on the Darwinian transformation of publishing, from tactile and sensory (paper and fountain-pen stains and typewriter bells) to e-everything (bidding wars and clean desks); she herself picked flight over fight.