We mean it kindly, when we say that a short story contains a novel. For many of us are novel-lovers, first or only, and, so, this seems a high compliment. What we are observing is how quickly an author can beckon us into the heart of a character, how
Readers of Mavis Gallant’s early stories have endured a lot of unhappy spouses and unhappy children. In apartments and on beaches, in summer houses and on holiday, It’s hard enough; in confined quarters, it is stressful indeed. In “The Rejection” we have a divorced father and his daughter in
I’ve loved the idea of a character named Maybe since I read Katheen Martin’s novel, Penny Maybe, about a sixteen-year-old girl working out all the possibilities ahead of her. Isn’t it just perfect for a coming-of-age story? And, indeed, in Andrea MacPherson’s novel, Maybe Collins is eleven years old
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
Even the shortest story in The Other Paris provokes a strong sympathy on the part of readers. Bill Perlmutter: "Through A Soldier's Lens. Europe In The Fifties".Click for source details At the heart of the story are two young children, Ursula who is older than seven and Colin who
