She retells these stories against this modern backdrop. At the end of the book is a section in which Hughes-Hallett summarises the fables from which she derived the stories retold in Fabulous. You might find yourself comparing the two tellings of the same tale, noticing how Hughes-Hallett treats certain elements — how she molds them to suit her new story. This certainly adds another layer of appreciation for what is already excellent writing. His boss is called Diana — and Diana was, in ancient mythology, a goddess who was stared at as she bathed in the nude by an ill-fated hunter.
This is a strange and rather brilliant collection — and if you knew nothing about fable or myth before, your appetite will be well and truly whet. These stories are all set in and around the favelas of Rio de Janiero, and are all told from the perspective of boys coming of age there. Race and class are central themes here, although the stories are also of love and family and friendships. The dialect is colloquial, urban and with an exclusive subtext. This is a language of secrecy — the verbal code used by the subculture of the streets.
Each story differs in tone and style — so much so that you wonder if they really have come from the same author. But what binds the tales here is the voice — with its street-smart bravado, bitter edge and an emotional intelligence that proves compelling. Martins handles masculinity and fragility with equal commitment. In the conflicting imagery of drugs, guns and butterflies, readers are made to appreciate the importance and weight that each object holds within the pages of this slim but substantial volume.
She takes premises that are at the least surreal, at most ridiculous, and weaves compelling, tight and confident prose around them with an awesome vocabulary. In a later story, we meet Cillian who falls in love with an Iron Age body, who has been preserved in peaty bog for some 2, years.
Originally presented as stand-alone short stories, these titles are a collection of speculative fiction shorts based on the author's work. A paperback edition is also. Short Stuff: on the job with an x-small model is an inspiring collection of short stories featuring on-the-job modeling experiences with Marshall's. Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App.
Gal-dem , the award-winning online and print magazine created by women and non-binary people of colour, have released this volume in which contributing writers use raw materials from their youth as a tool for giving advice to their younger selves. Although more personal essay than short fiction, these stories — poignant, thought provoking, sad and funny on topics as varied as sexuality, power and family — are deserving of the widest possible audience.
These stories, concerned as they are with motherhood — longing and waiting for motherhood, mothering, being mothered — are for everyone.
The collection opens with the tale of a woman who is trying without success to be a mother when her younger sister, who has never much coveted parenthood, deliberates over whether to go ahead with her unexpected pregnancy. Far from abstract euphemisms, her stories confront the stark, often shocking realities of miscarriage and abortion with brutal detail.
These are quotidian, universal stories. She captures what it is to be a mother, a would-be mother, an almost mother or a not-mother with such clever perceptiveness making the stories recognisable, familiar and strangely comforting. Clever and strange, these stories move from America to China and back again, with themes of identity, privilege and race. These collectively reveal the interior world of a young woman grappling with who she is and where she has come from. Chekov fans — rejoice!
Readers are reminded of Chekov repeatedly throughout the collection. Until he shows up and breaks the spell. This is subtle, honest and unaffected storytelling where the lives of normal people are picked up and examined closely — to remarkable effect. Writing, fiction and storytelling is so subjective and beholden to personal taste that it feels somewhat wrong to offer a verdict as to which is the best of this bunch. On some occasions, we earn revenue if you click the links and buy the products, but we never allow this to bias our coverage. The reviews are compiled through a mix of expert opinion and real-world testing.
Black Friday is nearly here. Want to bookmark your favourite articles and stories to read or reference later? Start your Independent Premium subscription today. Find your bookmarks in your Independent Premium section, under my profile. Subscribe Now Subscribe Now. Final Say. Long reads. Lib Dems. US Politics.
Theresa May. Jeremy Corbyn. Robert Fisk. Mark Steel. Janet Street-Porter. John Rentoul. Chuka Ummuna. Shappi Khorsandi. Gina Miller.
Our view. Sign the petition. Spread the word. Steve Coogan. Rugby union. Motor racing. US sports. Rugby League. Movers List. Geoffrey Macnab. There are writers who can really unravel a sweater with slow deliberate style, but, if anything, I must underwrite. At the very least you seem to have latched on to OR Books pretty well with these two books and the Watchlist anthology. Well, being in something as savvy and star-studded as Watchlist is a clear benefit to being with OR in the first place.
Share a credit with Robert Coover? Sure, why not. Shock and awe? Maybe dread? When you put it like that it makes me think that these stories are something like a contemporary vision of the afterlife. There are stories of Pythagoras personal favorite of mine , depression era bank robbers, a mid-century milk man.
Am I far off here? To me every human has always seemed overwhelmed. Speaking of riddles, a number of the microfictions, to me at least, read like jokes. Is there a lot of influence out there for short stuff like this and how does a story of a hundred words or so formulate for you?
One day it was pink ice cream, another day it was grass stains. Fox the Tiger. A bit I remember was of one of the young boys on the family having a competition with one of his friends to see who could urinate the highest up a wall. Earlier in my life, I served as a pastor and wrote primarily for preaching. As we go to press, the school board has postponed a vote on the resolution pending a public hearing. I have lots of anthologies, mostly old textbooks, on my shelves, and I keep thinking it would be fun to dip into those every now and then, both for stories and for poems!
With the short stuff I am mostly embarrassing Lydia Davis and Thomas Bernhard, both respected for their spring-coiled, one-paragraph mousetraps. A story does sometimes sting all the more for being small. Shirley Jackson could write these slices of domestic life that cut all the deeper because you imagined them as slight.
Thankfully I made editor at work and can farm out most of the stunt reporting, which at the time was I suppose a function of my shamelessness and the thrill of terrifying transparency. The Daily Dot is all about the Internet, and the Internet is all about being too out there, all the time. To the extent that my characters reflect the forms of my own incipient madness, yes, life is imitating art, or vice versa. Does dialogue come naturally to your ear or do you have to hammer away at it like a team of Madison Avenue execs trying to formulate the perfect three words?
To return to the notion of linguistic shortcuts: Everyone uses them all the time—otherwise they blather on, and we hate them for it.
That said, dialogue in fiction is a lot as practiced day in and day out: Either you fuck it up, in which case revision gives you a chance to fix it like you never can in life, or you absurdly get it just right, right off, in this zen, not-even-trying way. Did you have much of an instinct to tinker with stories in this second incarnation?
I knew of tinkering that had to be done, and the wonderful agent I worked with on a big overall revision—Leigh Huffine—identified the rest.