I read this book many months ago. I loved this book. I loved the way it meandered around in it's setting, got lost in anecdotes on characters, anecdotes that went off on tangents, before the story eventually settled on something resembling a plot, dropped it for a while and picked it back up in the end. That plot? Mack and the boys throwing a party for Doc, such a nice guy.
Are stories allowed to do that anymore? Some novels, maybe, but what about short stories? Stewart Dybek comes close in his collection I Sailed with Magellen. Look at "Blue Boy". It's the kind of fiction that punches out a large space for itself, a space larger than needed for the plot that drops in. Or he makes it seem that way. The story is roomy, yet every word counts. I guess the opposite of this, the more commonly accepted story, is one we describe as "tight". Granted, a novel has more room to be loose than a story does, but couldn't there be more loose stories? And what makes them loose? Their focus on setting? Is it that no one cares to read them that much, journals have no room for them, or editors have no patience for them? Or all three? Or any combination of the above?
I suppose the purpose of this post is to ask whether any of you robots could suggest stories similar to those described above, or authors who write such stories. Much appreciated.
2 comments:
Mr. Mowdy, I don't how I've missed this post for so long, did you really post it in August?
Is part of what you're talking about a "loose" story have something to do with the stakes being subtle, or the writer not immediately declaring "Gosh, there's a lot at stake here, so pay attention!" Is it connected to tone or mood as much as to content?
In which case, I think Sherman Alexie has some stories that do this, where the characters are wandering around having seemingly pointless conversations that actually serve a big purpose but which don't scream Big Purpose at the time, if you know what I mean.
Also, I think a lot of really good children's literature that's not overly moralizing has this roominess feeling. Like kids have more time to get comfortable and take a look around before getting to The Point. And in the best ones there isn't so much of a Point at all, just a series of really lovely scenes. I'm thinking of Maurice Sendak, earlier stuff, and also Nancy Willard, in the Anatole trilogy.
Does this make sense? hmmm. This is a good question.
Firstly, starrykick, I started the draft for this post in August but had to stop to play trains with my son. Finished the post end of Sept, which s when it actually appeared.
Secondly, yes and yes. I was so focused on setting in my post as my two examples really develop setting into something like a character, making the human characters sort of like the setting's inner conflict. If that makes any sense. But subtle stakes, too. that falls into the category "loose" of which I write; stories that perhaps have seemingly small stakes or actually have small stakes but nevertheless are thoroughly interesting, which, in my opinion, is the most important thing for a story to be.
Thanks for the recommendations.
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