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As an uncanny child myself, I always gravitated toward reading about the strange—whether in historical accounts or fiction—and as a passably normal adult, I often write from the perspective of “the other.” I never intentionally mix science fiction and paranormal elements into my work…they just happen to be my characters’ truths! So much of what we humans know about our world is filtered through our collective reality, and I love following the connecting threads and plucking at the flaws.
Shirley Jackson’s short story “The Lottery” absolutely belongs on this list—not because the children appear to be strange or unsettling, but because they are hauntingly, terrifyingly normal.
With cheerily objective prose, Jackson captures a gathering of friends and families on a single morning where the children play and laugh until it’s time to participate in the community’s horrifying annual tradition. I don’t want to spoil the story by saying more, but I promise, this is a must-read for more than shock value. Nature versus nurture, indeed.
'Shirley Jackson's stories are among the most terrifying ever written' Donna Tartt
This is the definitive collection of Shirley Jackson's short stories, including 'The Lottery' - one of the most terrifying and iconic stories of the twentieth century, and an influence on writers such as Neil Gaiman and Stephen King.
In these stories an excellent host finds himself turned out of home by his own guests; a woman spends her wedding day frantically searching for her husband-to-be; and in Shirley Jackson's best-known story, a small farming village comes together for a terrible annual ritual. The creeping unease of lives squandered…
I’m a short story reader, reviewer, and writer. Short stories are a powerful form, combining the distilled intensity of poetry with the depth of character development. They allow enough space to get to know a character, feel the pain of their disappointments, to root for their ultimate success. Such moments reflect broader realities of a culture, a society, a people. A single-author collection gives great insight into a writer’s abilities and style. My own debut collection was a finalist for the Alistair MacLeod short fiction prize and is critically acclaimed, so hopefully, that means my careful reading of these collections has taught me a thing or two.
Christie’s stories are set in downtown eastside Vancouver, a neighbourhood notorious for junkies and homelessness. Of course, the realities are much more diverse.
These stories focus not only on the down-and-out but also on shop owners and others trying to make a go there, the traumatic things they witness and experience, and the guilt of surviving there. In prose that is sharp and witty, yet evocative and illuminating, he shows every character to be struggling, regardless of their situation.
It is a very real look at completely believable characters. And he sees them very clearly, shows their humanity, and finds compassion for all of them.
Critically lauded, The Beggar’s Garden is a brilliantly surefooted, strikingly original collection of nine linked short stories that will delight as well as disturb. The stories follow a diverse group of curiously interrelated characters, from bank manager to crackhead to retired Samaritan to web designer to car thief, as they drift through each other’s lives in Vancouver’s Downtown Eastside. These engrossing stories, free of moral judgment, are about people who are searching in the jagged margins of life―for homes, drugs, love, forgiveness―and collectively they offer a generous and vivid portrait of humanity, not…
I’m a short story reader, reviewer, and writer. Short stories are a powerful form, combining the distilled intensity of poetry with the depth of character development. They allow enough space to get to know a character, feel the pain of their disappointments, to root for their ultimate success. Such moments reflect broader realities of a culture, a society, a people. A single-author collection gives great insight into a writer’s abilities and style. My own debut collection was a finalist for the Alistair MacLeod short fiction prize and is critically acclaimed, so hopefully, that means my careful reading of these collections has taught me a thing or two.
Kerry Lee Powell writes some of the best sentences I’ve ever read. A lot of her opening lines (“Today's the day Mitchell Burnhope gets the royal shit kicked out of him” ... “I took my kung fu instructor off speed-dial today” ... “A dozen of us were dressed up as low-budget ghosts outside Earl’s Court tube station”) are arresting, instantly grabbing my attention, while hinting at something more, posing a question and inviting me to read on.
What was happening was usually much deeper than first expected. She's economic with her words, but in a few pages I came to care about the characters and I miss them now, feel like they're still out there somewhere wheeling and dealing to keep their head above water.
Ranging from an island holiday gone wrong to a dive bar on the upswing to a yuppie mother in a pricey subdivision seeing her worst fears come true, these acclaimed, deftly written stories are populated by barkeeps, good men down on their luck, rebellious teens, lonely immigrants, dreamers and realists, fools and quiet heroes. In Kerry Lee Powell’s skillful hands, each character, no matter what his or her choices, is deeply human in their search for connection. Powell holds us in her grasp, exploring with a black humour themes of belonging, the simmering potential for violence, and the meaning of…
I’m a short story reader, reviewer, and writer. Short stories are a powerful form, combining the distilled intensity of poetry with the depth of character development. They allow enough space to get to know a character, feel the pain of their disappointments, to root for their ultimate success. Such moments reflect broader realities of a culture, a society, a people. A single-author collection gives great insight into a writer’s abilities and style. My own debut collection was a finalist for the Alistair MacLeod short fiction prize and is critically acclaimed, so hopefully, that means my careful reading of these collections has taught me a thing or two.
The long titular story from Peninsula Sinking is about three phases in a young man’s life, and his maturation from a guy who does crazy stunts to get attention from the cool kids to someone who, full of regrets and hopes, grapples with highly evolved intellectual and ethical conundrums and finds safety only in love.Its final third opens with this enticement: “Imagine it’s you facing the loss of the still-ripening cherries between your legs.” Throughout the book, Huebert proves himself a wizard with figurative, sensual writing, layering bizarre images with tricky turns of phrase. We are reminded that “there were palm trees on Antarctica once.” Anything can happen.
This collection is filled with great energy, stunning images, and overall great stories—all of them prominently featuring non-human animals, and their interactions with humans, in some cases tackling complex ethical dilemmas with considerable insight.
In his debut collection of short stories, David Huebert brings us an assortment of wounded wanderers who remind us that we are all marooned on the shores of being, watching oceans rise. Veterinarians, prison guards, and prosthetic phallus designers develop various schemes to navigate the ruins of their capsizing lives and to confront the beauty of their bruised worlds.
I live in the past, even as the wellness industry tells me to be present. I try to be present! Of course, I also worry about the future. Time for me, inexorably, moves both backward and forward. I’m always writing things down, scared of forgetting. How do other people do it? That’s why I read fiction (or one of the reasons). As Philip Roth said of his father in Patrimony, “To be alive, to him, is to be made of memory—to him if a man’s not made of memory, he’s made of nothing.”
When Jennifer Egan published “Found
Objects” “Safari,” and “Ask Me If I Care” in The New Yorker I knew she
was onto something, but I wasn’t prepared for the cumulative effect of A
Visit from the Good Squad, which bounces between past and present (and,
occasionally, into the future).
One character asks, “Time’s a goon, right?”
Time is, though I hadn’t considered how until surrendering to Egan’s vision,
which spans from NYC to Africa to PowerPoint. Whether this is a collection of linked
stories or novel or some other hybrid form is irrelevant; the book is pure sorcery.
It was one of the thrills of my career to bring Egan to Omaha in 2019 to lecture
to the University of Nebraska MFA in Writing.
WINNER OF THE PULITZER PRIZE FOR FICTION NEW YORK TIMES TOP 10 BOOKS OF 2010
Jennifer Egan's spellbinding novel circles the lives of Bennie Salazar, an aging former punk rocker and record executive, and Sasha, the passionate, troubled young woman he employs. Although Bennie and Sasha never discover each other's pasts, the reader does, in intimate detail, along with the secret lives of a host of other characters whose paths intersect with theirs, over many years, in locales as varied as New York, San Francisco, Naples, and Africa.
We first meet Sasha in her mid-thirties, on her therapist's couch in…
Most of my public success has been as a novelist. My MFA, from the Iowa Writers Workshop, is in poetry. When I grow up, I want to be a short story writer. The dirty truth is, though, I’ve been making trouble with stories since I was a kid. During my first attempt in 10th grade, I wrote a story that got me suspended for two weeks. No explanation. No guidance. Just a conference between my parents, teachers, and principal (I wasn’t present), and they came out and banished me. I dropped out of school shortly after. I reckon that experience, both shameful and delicious, shaped my life and love of narrative.
The title alone sets the stage. This is meta at its most meta-ness. Who is narrating? Who is listening? Is the author complicit in the sometimes catastrophic, always deeply strange, events that unfold in these tiny tales? More importantly, do we the readers play a role? Less is more. Lesser still is even more more. The reach of suggestion. A knockout punch of inference.
The Austrian playwright, novelist, and poet Thomas Bernhard (1931-89) is acknowledged as among the major writers of our times. At once pessimistic and exhilarating, Bernhard's work depicts the corruption of the modern world, the dynamics of totalitarianism, and the interplay of reality and appearance.
In this stunning translation of The Voice Imitator, Bernhard gives us one of his most darkly comic works. A series of parable-like anecdotes-some drawn from newspaper reports, some from conversation, some from hearsay-this satire is both subtle and acerbic. What initially appear to be quaint little stories inevitably indict the sterility and callousness of modern life,…
Most of my public success has been as a novelist. My MFA, from the Iowa Writers Workshop, is in poetry. When I grow up, I want to be a short story writer. The dirty truth is, though, I’ve been making trouble with stories since I was a kid. During my first attempt in 10th grade, I wrote a story that got me suspended for two weeks. No explanation. No guidance. Just a conference between my parents, teachers, and principal (I wasn’t present), and they came out and banished me. I dropped out of school shortly after. I reckon that experience, both shameful and delicious, shaped my life and love of narrative.
The complexities of the human, the whole human. That’s what Paley explores. How we think, how we act and feel, how we play and fight, how we talk. And talk. Paley is a master of nuance, and often reveals her mastery through dialogue. There is always a convincing urgency in the way her characters speak, and a delicious talking-around a thing, an idea. Her worlds richly detailed and urban. I’d like to live in the apartment building of Grace Paley’s mind.
This reissue of Grace Paley's classic collection—a finalist for the National Book Award—demonstrates her rich use of language as well as her extraordinary insight into and compassion for her characters, moving from the hilarious to the tragic and back again.
Whether writing about the love (and conflict) between parents and children or between husband and wife, or about the struggles of aging single mothers or disheartened political organizers to make sense of the world, she brings the same unerring ear for the rhythm of life as it is actually lived.
The Collected Stories is a 1994 National Book Award Finalist…
Most of my public success has been as a novelist. My MFA, from the Iowa Writers Workshop, is in poetry. When I grow up, I want to be a short story writer. The dirty truth is, though, I’ve been making trouble with stories since I was a kid. During my first attempt in 10th grade, I wrote a story that got me suspended for two weeks. No explanation. No guidance. Just a conference between my parents, teachers, and principal (I wasn’t present), and they came out and banished me. I dropped out of school shortly after. I reckon that experience, both shameful and delicious, shaped my life and love of narrative.
I don’t remember when or how or where I came across Diane Schomperlen. She’s Canadian, and I very much like attending the Stratford Shakespeare Festival in the middle of Ontario. It’s likely that I found her in a bookstore there. I don’t remember. I do however remember my immediate and deep love of her work. At once experimental—pushing against the boundaries of traditional story format—and fiercely human. Real people struggling to connect with, to stay connected with, each other. Real people. Beautifully flawed. And full of dignity.
A collection of short fiction by the author of Our Lady of the Lost and Found presents twenty-one tales, written over the past twenty years, that include "Losing Ground," a perceptive coming-of-age story, and "The Man of My Dreams," in which the realities of a dissolving relationship become intertwined with the narrator's dream world. Original.
Long before I earned a degree in psychology, I was fascinated by human relationships and motivations. Since reading novels is an excellent way to delve into the minds of a variety of people, the library became my second home. I well remember my first binge-read—Nancy Drew. I devoured the entire series sitting under a catalpa tree in my grandfather’s backyard. So it’s probably not surprising that I’m now the author of 60+ novels in the romantic suspense and contemporary romance genres—none of which include sex, swear words, or gratuitous violence. Because as suspense superstar Mary Higgins Clark once said, you don’t need any of those to tell a compelling story.
A powerful, riveting, and unputdownable tale of three women from different eras (Civil War to present) that frames the issue of race relations within the context of family relationships, making the subject immensely relatable and deeply touching. Bartels spins this masterful tale with a deft touch and a caring heart to create a stunning debut. Because the characters were so vivid and the emotions so real, this book opened my eyes in new ways to an issue that remains a hot button in today’s society.
A 2020 Michigan Notable Book 2020 WFWA Star Award Winner 2019 Christy Award finalist
***
"In this powerful first novel . . . Bartels successfully weaves American history into a deeply moving story of heartbreak, long-held secrets, and the bonds of family."--Publishers Weekly, Starred Review
"A forbidden interracial marriage, an escaped slave, an expectant mother waiting for her Union soldier to return--all of these stories are deftly told by Bartels, as she explores the hard realities of racism and its many faces during various eras of American history. . . .Compelling characters make this winning debut also appealing for fans…
Marita Golden is an award-winning author of over twenty works of fiction and nonfiction. Her books include the novel The Wide Circumference of Love and the memoirs Migrations of the Heart, Saving Our Sons, and Don’t Play in the Sun One Woman’s Journey Through the Color Complex. She is the recipient of many awards including the Writers for Writers Award from Barnes & Noble and Poets and Writers, an award from the Authors Guild, and the Fiction Award for her novel After, from the Black Caucus of the American Library Association. She has appeared on The Oprah Winfrey Show, been featured as a question on Jeopardy!, and is a two-time NAACP Image Award nominee.
In the introduction to the first edition of Black Boy, Richard Wright acknowledges that while inspired by his life the book is both a record of his life and an imagined autobiography of all the “black boys” he knew who like him came of age in the segregated south.
Wright’s book is an early example of the use of creative nonfiction techniques that make this memoir gripping, suspenseful, deeply psychological, and a testimony to the power of dreams and the will to prevail against adversity.
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