CRAFT ESSAYS, ELEMENTS, and TALKS
Thick with Noir: Tom Lutz’s BORN SLIPPY
By Sean Hooks • “A drunk sees the world in fragments and I wanted to recreate that,” says Karl Hyde of pioneering British electronica outfit Underworld. “The first time we played it live, people raised their lager cans and…
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Art of the Opening: Laura van den Berg
A friend tells you a story. It makes you pause each time you enter the bathroom, eyes sliding to the linen closet. Each time you pull a fresh bath towel from the shelf, the warm musk of cedar reaching…
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An Analysis of the Narrative Voice in Yoko Ogawa’s THE DIVING POOL
By Geoffrey Miller • A different woman character narrates each of the trio of novellas in Yoko Ogawa’s collection The Diving Pool. In the opening, titular piece there’s Aya, a school-aged girl living at a countryside orphanage run by…
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This or That: Simultaneity in John O’Hara’s BUTTERFIELD 8
By Ian Randall Wilson • When I wrote in third person, it was in third-person close. The concerns of simultaneity didn’t occupy much of my attention. There may be a flaw in my thinking here, but my reasoning was…
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The Grind: Revelatory Repetition in Edward P. Jones’s “An Orange Line Train to Ballston”
By Alyson Mosquera Dutemple • In the very first line of his story “An Orange Line Train to Ballston,” Edward P. Jones signals to readers to expect repetition and recurrence throughout the rest of the piece: “The first time…
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On (Not) Writing the Bar Story Part II: The Instructor
By Mike Goodwin • In my brief career teaching fiction workshops, the bar story has appeared too often as a genre vying for literariness. Students have written about debauchery at house parties, barns, parks, cemeteries, and, of course, bars.…
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On (Not) Writing the Bar Story Part I: The Amateur Writer
By Mike Goodwin • I once earned a well-deserved reaming for my writing an awful story involving who I viewed as lower-class patrons inhabiting a dive bar. The narrative too often emphasized these characters giving each other the business…
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Hybrid Interview: Gayle Brandeis
“We want you to know how we lived. That we lived. That we were girls before we were game. That we were alive.” Essay by Melissa Benton Barker • Gayle Brandeis’s recent novel-in-verse, Many Restless Concerns (a testimony):…
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Art of the Opening: Raymond Carver and Crafting a Hook
I am heaving in the southwestern corner of an open-air outlet mall five days before Christmas. This is the desperate and empty sort of heaving required to stop a sob and close off the valve of emotion. A hiccuping…
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Empathy as Craft: James Baldwin’s “Sonny’s Blues”
By Gerry Stanek • James Baldwin finds a unique way to interiority in “Sonny’s Blues,” which was first published in 1957. I say unique, because I’m not sure there’s another story like this; a character’s thoughts and perceptions are…
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