A World of Short Stories
Many people have said 2009 is the year of the short story. And a lot of the short story collections published this year have won awards ranging from Frank O'Connor International Short Story Award (which, of course, wouldn't be awarded to a novel or poetry collection), the Guardian Fiction Award and many others I can't think of right now.
Only yesterday (Friday, November 6), CNN's Anderson Cooper and Oprah's Oprah Winfrey admitted that this had been the year they fell in love with the short story through their reading of Uwem Akpan's Say You're One of Them. For this reason, they have decided to co-broadcast a discussion of the book on Monday (9pm Eastern/8pm Central Time). This is a huge event for a short story collection. If all goes well, I may participate in some small way in the Webcast.
Say You're One of Them has already been on the New York Times best seller list for weeks, and what that means is that Americans are buying (and reading) this book in great numbers. I have even begun to receive emails from old friends and former co-workers saying they are reading Uwem Akpan's book. That's good for the short story genre, but most importantly, for the exposure of literature set in Africa.
This year I have focused my reading on the short story because my own writing is also centered on the genre, but I have found myself saying things like, "I want to discover the secret of the short story." That's just because once I started, I couldn't stop.
I haven't discovered the secret yet, but I am enjoying the discovery of writers (contemporary and classic) I never thought I would be reading this year. Short stories are addictive (especially if you make a point to make 90 per cent of your pleasure reading center only on them); reading one author has led to the discovery of another, and this has been going on non-stop since February.
Short stories have become fashionable. As I browse new titles in book stores, I see all these things publishers are doing with the genre. There are more collected stories by single authors, huge volumes like those by Ballard, Trevor, and Carver. Then estbalished novelists have also caught on to the short story bug (or opportunity). Kazuo Ishiguro just released Nocturnes, a collection of short stories; Ha Jin is coming out [in December] with A Good Fall (which I recently reviewed. Lives of Chinese immigrants in the United States),John Grisham's Ford County is a short story collection, and someone just did the most voluminous Raymond Carver collection, displaying multiple versions of the short stories side by side to show Carver's revision process (It's been termed a treasure).
The most fashionable thing now (or we can call it profitable), is publishing short story anthologies that contain works by different authors. The collections have hot themes ("one world", "new voices of the world", "our changing world", "new generations"). Short story collections everywhere, from anywhere. I am even scheduled to co-edit a book of short stories by Indian and Zimbabwean authors, and work is in progress on one of the most gripping collections of contemporary African
short stories, a collection entitled African Roar.
I am noticing that some of the collections by single authors are like novels, with stories unified by a central concern. Ha Jin's stories, for instance, are all set in Flushing, New York. William Styron's new collection, The Suicide Run, is about the Marine Corps, and the different stories center on the same protagonist, and Uwem Akpan's Say You're One of Them deals with the plight of children across Africa, with all his stories told from a child narrator. So there is always an amazing unifying element in the collection, which gives it a sense of continuity that readers can appreciate.
Perhaps what's happening to the short story genre has been happening all along; I just haven't been paying much attection. But the articles keep pointing to the revival of the genre. Steven Millhauser, for instance, has written on the ambition of the short story in his famous New York Times essay. Then the awards too: most of the books getting short-listed and winning awards are short story collections. For once, I am seeing short story collections on the New York Times Bestseller list. And my search for the secret of the short story continues, as I take it beyond Borders & Barnes & Noble to Amazon, used bookstores, library booksales, to Goodwill and garage sales. Call it a bargain hunt, and I can tell you, the trips have been worthwhile: I have discovered names I never thought I would: Now I don't have to turn back to the same Dubliners each time I crave a short story.
2009, the year of the short story. And if this continues to 2010 and 2011, those too will be years of the short story. But do I hear poetry calling for attention too? Perhaps 2012? Then we give 2013 to the playwrights? As for the novel, well, what can I say, hang in there.
At the end of 2008, and early this year, I was blogging about Ruby Magosvongwe's labelling of Zimbabwe as a short story country, and there was a little bit of debate on the issue as some writers argued it could also be called a novel or poetry country. But the debates made me pay more attention, first, to the Zimbabwean short story, then before I knew it I was reading Flannery O'Connor, Flaubert, and Maupassant. Perhaps now, as the year ends,I am tempted to say that our [literary] world is a short story world(this moment at least).
Only yesterday (Friday, November 6), CNN's Anderson Cooper and Oprah's Oprah Winfrey admitted that this had been the year they fell in love with the short story through their reading of Uwem Akpan's Say You're One of Them. For this reason, they have decided to co-broadcast a discussion of the book on Monday (9pm Eastern/8pm Central Time). This is a huge event for a short story collection. If all goes well, I may participate in some small way in the Webcast.
Say You're One of Them has already been on the New York Times best seller list for weeks, and what that means is that Americans are buying (and reading) this book in great numbers. I have even begun to receive emails from old friends and former co-workers saying they are reading Uwem Akpan's book. That's good for the short story genre, but most importantly, for the exposure of literature set in Africa.
This year I have focused my reading on the short story because my own writing is also centered on the genre, but I have found myself saying things like, "I want to discover the secret of the short story." That's just because once I started, I couldn't stop.
I haven't discovered the secret yet, but I am enjoying the discovery of writers (contemporary and classic) I never thought I would be reading this year. Short stories are addictive (especially if you make a point to make 90 per cent of your pleasure reading center only on them); reading one author has led to the discovery of another, and this has been going on non-stop since February.
Short stories have become fashionable. As I browse new titles in book stores, I see all these things publishers are doing with the genre. There are more collected stories by single authors, huge volumes like those by Ballard, Trevor, and Carver. Then estbalished novelists have also caught on to the short story bug (or opportunity). Kazuo Ishiguro just released Nocturnes, a collection of short stories; Ha Jin is coming out [in December] with A Good Fall (which I recently reviewed. Lives of Chinese immigrants in the United States),John Grisham's Ford County is a short story collection, and someone just did the most voluminous Raymond Carver collection, displaying multiple versions of the short stories side by side to show Carver's revision process (It's been termed a treasure).
The most fashionable thing now (or we can call it profitable), is publishing short story anthologies that contain works by different authors. The collections have hot themes ("one world", "new voices of the world", "our changing world", "new generations"). Short story collections everywhere, from anywhere. I am even scheduled to co-edit a book of short stories by Indian and Zimbabwean authors, and work is in progress on one of the most gripping collections of contemporary African
short stories, a collection entitled African Roar.
I am noticing that some of the collections by single authors are like novels, with stories unified by a central concern. Ha Jin's stories, for instance, are all set in Flushing, New York. William Styron's new collection, The Suicide Run, is about the Marine Corps, and the different stories center on the same protagonist, and Uwem Akpan's Say You're One of Them deals with the plight of children across Africa, with all his stories told from a child narrator. So there is always an amazing unifying element in the collection, which gives it a sense of continuity that readers can appreciate.
Perhaps what's happening to the short story genre has been happening all along; I just haven't been paying much attection. But the articles keep pointing to the revival of the genre. Steven Millhauser, for instance, has written on the ambition of the short story in his famous New York Times essay. Then the awards too: most of the books getting short-listed and winning awards are short story collections. For once, I am seeing short story collections on the New York Times Bestseller list. And my search for the secret of the short story continues, as I take it beyond Borders & Barnes & Noble to Amazon, used bookstores, library booksales, to Goodwill and garage sales. Call it a bargain hunt, and I can tell you, the trips have been worthwhile: I have discovered names I never thought I would: Now I don't have to turn back to the same Dubliners each time I crave a short story.
2009, the year of the short story. And if this continues to 2010 and 2011, those too will be years of the short story. But do I hear poetry calling for attention too? Perhaps 2012? Then we give 2013 to the playwrights? As for the novel, well, what can I say, hang in there.
At the end of 2008, and early this year, I was blogging about Ruby Magosvongwe's labelling of Zimbabwe as a short story country, and there was a little bit of debate on the issue as some writers argued it could also be called a novel or poetry country. But the debates made me pay more attention, first, to the Zimbabwean short story, then before I knew it I was reading Flannery O'Connor, Flaubert, and Maupassant. Perhaps now, as the year ends,I am tempted to say that our [literary] world is a short story world(this moment at least).
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