Early on, I identified with American short story writers Bernard Malamud and Flannery O’Connor. Though firmly ensconced in the American canon, neither had a fear of allowing the comic or fantastic to play important roles in stories with serious spiritual values. I enjoyed fabulous writers as well, the wildness of Nikolai Gogol, the magic of Ray Bradbury, the comic impulses of Mark Twain. I came across Dune and read it several times. Since those days, I have taken in many stories that do not stick to representations of reality, discovering writers all over the world with the same fascinations. I can’t keep myself from trying to join them.
The Elephant Vanishes includes two of my favorite stories by any contemporary writer.
Set in the forested vicinity of a factory that makes elephants, “The Dancing Dwarf” follows the adventures of a marvelous dwarf who once danced for the king, alas, now pursued by soldiers of the revolution. The other side of the spectrum, “The Last Lawn of the Afternoon” partakes of the fantastic only by osmosis. The care this teenage boy takes mowing and trimming his assigned lawns feels so real it reminds me of myself.
This range keeps the reader slightly off balance and full of expectation, which might not be so exciting if we weren’t in the hands of one of the finest practitioners of the craft anywhere in the world.
A dizzying short story collection that displays Murakami's genius for uncovering the surreal in the everyday, the extraordinary within the ordinary
*Featuring the story 'Barn Burning', the inspiration behind the Palme d'Or nominated film Burning*
When a man's favourite elephant vanishes, the balance of his whole life is subtly upset. A couple's midnight hunger pangs drive them to hold up a McDonald's. A woman finds she is irresistible to a small green monster that burrows through her front garden. An insomniac wife wakes up in a twilight world of semi-consciousness in which anything seems possible - even death.
Isabel Allende shows us marvels from South American traditions, archetypal stories with the excitement of passionate lovers and desperate bandits.
Once you finish the stories—not one a clunker—your mind will have been temporarily readjusted to the dangerous and fantastical world of deeply hidden human motivations. It’s as good as her autobiographical Paula, which is an education between covers. At first, I wouldn’t read Isabel Allende because two friends told me she imitated Gabriel Garcia Marquez.
I later learned they had not actually read any of her books. I decided to see for myself. Not true, I told them. Read the books.
Told in the voice of Isabel Allende’s beloved character Eva Luna, a “distinctive, powerful, and haunting” (Los Angeles Times) collection of short fiction by one of the most iconic and acclaimed writers of our time.
Eva Luna is a young woman whose powers as a storyteller bring her friendship and love. Lying in bed with her European lover, refugee and journalist Rolf Carlé, Eva answers his request for a story “you have never told anyone before” with these twenty-three samples of her vibrant artistry. Interweaving the real and the magical, she explores love, vengeance, compassion, and the strengths of women,…
James Malloy is a ferry captain--or used to be, until he was unceremoniously fired and replaced by a "girl" named Courtney Farris. Now, instead of piloting Brenton Island’s daily lifeline to the glitzy docks of Newport, Rhode Island, James spends his days beached, bitter, and bored.
This collection is an Introduction to an established writer of traditional horror with thirteen stories previously published in magazines, anthologies, or collections. I read these now as a single continuous work (like a symphony) with re-emerging themes.
Weaving in and out throughout the collection, the image of the shape-shifter develops with a wild inventiveness that never spins out of control. The same with the writer’s fascination with music that comes out humorously in the story “Collectable,” disturbingly accurate in “Under Iron.”
There is dark humor working beneath the surface that keeps readers alert and tingling with anticipation, a good effect if you’ve never tingled.
In this way, the fantastic in these stories takes us away from our lives in the present moment, providing a moment’s escape, but brings us back to ourselves in the end, like that ride on the roller coaster. Our feet find purchase once again; the journey has not only been entertaining, as we screamed in delight and fear, it has taken us somewhere and then left us off in strange territory, entertained, yes, perhaps better off for the experience, yet, miraculously, unharmed. This is the pure experience provided by these stories. Each one takes us for that ride, rewards us…
This collection reads like realistic stories from the perspective of a single point-of-view that throws common life into the realm of the weirdly uncommon.
In fact, I kept reading to figure out what I was reading. What changed in the process? My own perception of the world in which we live. These people may be like us, but the writer looks at them with new and different eyes. These stories sneak up on you and take over your mind for a marvelously short time because it’s a short book of short stories—one I recommend because it’s so unusual.
In this marvelously funny, unsettling, subtle, and moving collection of stories, the characters exist in the thick of everyday experience absent of epiphanies. The people are caught off-guard or cast adrift by personal impulses even while wide awake to their own imperfections. Each voice will win readers over completely and break hearts with each confused and conflicted decision that is made. Every story is beautifully controlled and provocatively alive to its own truth.
Constance is a wild, stubborn young girl growing up poor in a small industrial town in the late 1800's. Beneath her thread-worn exterior beats the heart of a dreamer and a wordsmith. But at age twelve, she’s orphaned. Running away to join the circus—like kids do in adventure books—seems like…
Daniyal Mueenuddin derives the marvelous from the depiction of wealthy and poor Pakistani characters surviving as gracefully or gracelessly as humanly possible.
Reading at times like social anthropology, at times like magical realism, the stories are folk tales with inspections of and lessons about human foibles. Characters come to life with large and small schemes, machinations, and quasi-unconscious action that arises from a combination of tradition, desperation, and privilege.
The underlying humor, both dark and loving, is something the writer shares with the reader.
These short stories fit the category of speculative fiction, a loose rubric that strikes a balance between whimsy and high purpose, high and low art and diction. I don’t mind being comic or serious, as long as the idea is vivid, engages the imagination, and appeals to readers. I always want to take readers somewhere they have not been, even or especially if this means using traditional forms for non-traditional purposes, occasionally verging on parody and dark humor. These stories were previously published in places as various as science fiction, mystery, literary, and horror publications.
Lena thinks she knows her future: in her small village, nothing much has changed for two hundred years. Women farm and fish, plant and harvest: a cooperative, productive, peaceful life. Until the day a soldier rides in, to ask the unthinkable of the women: learn to fight. Invasion is imminent,…
The Pact is a contemporary fiction novel about Australian sisters, Samantha and Annie, who are doubles tennis champions. This story amplifies the usual sibling issues and explores their professional partnership and personal relationships – similarities, differences, motivation, competition, abandonment, and grief – and how they each respond to the stress…
