Throughout the twenty stories in Claire-Louise Bennett’s 2015 short story collection, Bennett engages with the relationship between the exterior, natural world and the interior, domestic spaces that her narrator inhabits.
Reading with an eye for ekphrasis is reading for moments of productive trouble, spaces where the verbal and the visual clash, each vying for control over a story’s narrative. In these moments of contact, the sublimated desires and anxieties of the characters or narratives often make themselves known.
Silence is, necessarily, a fact of life for Brand, the protagonist of Stewart O’Nan’s 2016 novel, who has emigrated illegally to Palestine from the Soviet Union where he survived Gulag camps, and who has since become a member of the Haganah, a Jewish organization working to liberate Palestine from
In Laurie Colwin’s short story “The Lone Pilgrim,” the unnamed narrator describes her longing for the domestic lives of others: “Oh, domesticity! The wonder of dinner plates and cream pitchers…We domestic sensualists live in a state of longing, no matter how comfortable your own places are.” What the narrator