“To take up residence in the mind of Mavis Gallant, as one does in reading her stories, is a privilege and delight,” writes Phyllis Rose, to begin her review of Overhead in a Balloon in the March 18, 1987 issue of The New Yorker. She speaks of Gallant’s ability
In this story, Linnet is “seamless”, she is “as smooth as brass”. And she has returned to her godmother’s house, as a journalist, sent to conduct an interview. She has written down her assignment, like any other, without commenting that the woman is her godmother. unsplash-logoMatt Artz She is hesitant,
We are meant to take Linnet’s observations about this 1891 painting, how it was admired and embraced into so many homes, as an indication of the impact that Dr. Chauchard had on her family’s life. “The parable is set in a spotless cottage; the child’s bed, composed of three chairs,
You might remember that, back when we met Linnet Muir, four stories ago, she explained her particular kind of aloneness. unsplash-logoCris DiNoto This story travels back in time further than the previous three and creates a deeper understanding of her state of being. Even in childhood, Linnet was alone. Even
The thing about reading the third Linnet Muir story is that I know her now. At least, I feel like I do. Which is the deep appeal of a linked collection, the sense of gradual immersion. It’s the same phenomenon that pulls you back to a familiar series, a fledgling
