This was Lorrie Moore's first collection of short stories and they are terrific. The two I read were both written in the second person and read like a set of directions. "How to Become a Writer" is, I imagine, fairly autobiographical. Although the narrator is interested in writing, she is dissuaded by teachers, parents, other students who all agree she doesn't understand plot. She instead pursues child psychology. But eventually she begins to write and does what she has to do to begin her writing career. I am not sure this would appeal to readers who haven't at least tried to be a writer. But a lot felt familiar to me, especially the question, what do you write?
The second story was told similarly (second person) but this is about a first romance. She is growing tired of her boyfriend when he develops a kidney problem that is difficult to diagnose. How long are you required to stay with someone you don't love because of an illness? Especially at age 20 or so.
Literary stories used to be like these: easy to understand, beautifully written, about the kind of issues we faced. Or least I thought like that.
Now many of the stories I see in THE NEW YORKER are abstract, foreign, odd stylistically. Perhaps I have just outlived stories that feel familiar. First-world stories perhaps.
Todd Mason
Jerry House
George Kelley
Casual Debris
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8 comments:
Well, or TNY is trying (to some degree or another) to move away from the stereotype of their stories being about mildly vexed well-off urban whites feeling dissatisfaction and unable to deal with it sufficiently. And threw out the baby with the entitled ennui? (See also, EQMM in the Dannay years with attempts at too-often shallow earmarks of sophistication, or ANALOG in the latter-day John Campbell-edited issues stroking his Cute Notion buttons as he grew increasingly bored with the job...of course, the arterioschlerosis had really set in at TNY during William Shawn's decades, rather than the relatively quick turnover in EICs since, and the results cited at the two fiction magazines likewise, though both of the latter have long-term editors for nearly as long stretches...with perhaps a bit less self-parody by the end (ANALOG's Stanley Schmidt might've come closer than have EQMM's subsequent editors).
Lorrie Moore is a good choice.
I've had a even more distracting several days than usual, not the least untangling new cat from old cat while awaiting new cat's med to arrive and the good news that old cat is doing OK physically despite an uptick in polydipsia and polyurea (I can certainly relate). I did finish Lawrence Block's A WRITER PREPARES after relocating it, and will be writing it up when when prepared. It certainly relates to how to continue to be a writer even when conflicting desires and stimuli seem to be in the offing.
Yes, The New Yorker has led the way with most of their stories from writers from other continents and many have different styles and concerns. They are harder to read.
I agree. I liked Moore's stories too.
After the Lafferty, I am reading a collection of Agatha Christie stories, all of which I'd read years ago, but which I am enjoying revisiting.
I need to reread Christie stories. I think there are many shorts I have never read. What's the title of the collection, Jeff?
Lorrie Moore is great. I was simultaneously introduced to her via a radio reading of "How to Become a Writer," which soon after was handed out as a reading by a Creative Writing instructor I had. A good collection of stories.
I have one for this week:
https://casualdebris.blogspot.com/2023/07/louise-penny-best-american-mysteries.html
Thanks,
Frank
It's Midsummer Mysteries. There is also a Midwinter Mysteries.
You keep coming up with writers and short story books I am not familiar with. I will look for one of her collections. I would prefer Birds of America (her third collection) but may wait until the book sale and see if any of the collections are there.
Birds of America is very good. So too WHO WILL RUN THE FROG HOSPITAL? I have read a lot of books like these because for many years I did not read any crime fiction.
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