If you've glanced at the union regulations for Native writers, you'd have seen this one coming: Eden Robinson explains that it's a requirement. "It’s also a union regulation as a Native writer that you have to write a Trickster story at least once." (This is from an interview by
The dead fuel Jesmyn Ward's novels. She feels the weight of their stories; she shoulders them, shares them. In Sing, Unburied, Sing, their chorus of voices - even in the epigraphs but also in the novel - reverberates between and beyond the covers. Ward's are heart-shattering stories. But they
One August morning, I sat down with Angela Lopes' Bridge Retakes. The neighbourhood was pulsating with summer noise. A house was being constructed six doors down, prettifying work was underway two doors down, a landscaper's leaf-blower was out of sight but roaring, and a neighbour's grandson was cranky about
These are the kinds of stories which expose the imperfections which lie beneath a carefully smoothed comforter. Honest characterization is key, Lisa McInerney explains to Marie Gethins,: "There is absolutely no element or aspect of their characters’ lives a writer should shy away from presenting, no matter how unpleasant.
Besides Lori McNulty's Life on Mars and Mavis Gallant's stories, I've been dabbling in some other collections this year too. Edwidge Danticat's Krik? Krak! (1996) Drawn from a number of literary magazines and publications (including 1994's Pushcart Prize collection), these tales were gathered together to satisfy the readers who yearned
