short story Archive
We often call a story vivid because of its language and sensory details, whether they be in the tradition of writers like Faulkner (ornate) or Hemingway (spare). James Miranda’s story, “We Knew Horses,” in this fall’s Cimarron Review (Issue 158) does a masterful job using language and details of
I’m a believer that some story shapes lend themselves more readily to pieces of different lengths. The shape of Mary Helen Specht’s story, “Night Island” (Prairie Schooner, Winter 2014), is risky and surprising, and might not work as well in a longer story or novel. But it’s what allows
The opening sections of Alix Ohlin’s wonderful short story “Taxonomy,” (TriQuarterly 146) shows how a simple plot can open into a compelling mystery through just a few quick descriptions. In the first scene, the narrator Ed stops at a roadside Amish gift shop to try to find an appropriate
In Richard Bausch’s classic short story, “What Feels Like the World,” the looming grief over a mother’s death is conveyed through an impending vault at an elementary school gymnastics demonstration. In Amy Hempel’s classic, “When It’s Human Instead of When It’s Dog,” the tragic death of a spouse is
Some stories only get better—the more you read, the more you see. Greg Schreur’s opening lines in “Third World Kroger” set catastrophe front and center: “My wife needs more flour for another cake. Since our son Michael was taken and killed about six months ago, she bakes a lot
So it’s almost Halloween. Which means jack o’ lanterns and costumes and pumpkin-spiced everything. And, of course, Edgar Allan Poe, reigning king of high-school-English-textbook darkness. Cask of Amontillado, anyone?
As far as literary journal subscriptions go, I only maintain three. I’m one of those writers, and for my sins I mostly miss the great early pieces of writers I come to love years later. This is especially true of new Latina/o writers, who I think most people miss