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Short Stories
A Kirkus Best Book of October 2021
From poet Victoria Chang, a collection of literary letters and mementos on the art of remembering across generations.
For Victoria Chang, memory "isn't something that blooms, but something that bleeds internally." It is willed, summoned, and dragged to the surface. The remembrances in this collection of letters are founded in the fragments of stories her mother shared reluctantly, and the silences of her father, who first would not and then could not share more. They are whittled and sculpted from an archive of family relics: a marriage license, a letter, a visa petition, a photograph. And, just as often, they are built on the questions that can no longer be answered.
Dear Memory is not a transcription but a process of simultaneously shaping and being shaped, knowing that when a writer dips their pen into history, what emerges is poetry. In carefully crafted collages and missives on trauma, loss, and Americanness, Victoria Chang grasps on to a sense of self that grief threatens to dissipate.
In letters to family, past teachers, and fellow poets, as the imagination, Dear Memory offers a model for what it looks like to find ourselves in our histories.
Other Honors for Dear Memory:
An Electric Literature Favorite Nonfiction Book of 2021
A TIME Magazine Most Anticipated Book of Fall 2021
A Los Angeles Times Most Anticipated Book of Fall 2021
A Literary Hub Most Anticipated Book of 2021An NPR Most Anticipated Book of October 2021
To all outside appearances, Edna Pontellier is a respectable married woman living in New Orleans with her fond, indulgent husband and her two young sons. Beneath Edna's smooth, graceful face, however, lurks a woman of passion, a woman who will not--or simply cannot--efface herself in the role that her husband expects of her: an angelic being who reveres him, dotes on their children, and obediently erases her individuality in service to the family's happiness.
But one lazy summer vacation and an apparently harmless infatuation will push Edna beyond this quiet, settled life, placing her directly at odds with society's expectations of what a woman should be.
This volume features additional short stories, including works that wrestled with such topics as racial passing, in "Désirée's Baby," infidelity, in "A Respectable Woman," and queer attraction, in "Fedora."
"Astonishing. . . . The stories are surreal, with the sharpest edge and in one way or another, each story reveals something raw and powerful about being human in a world where so little is in our control." -- Roxane Gay
A refreshingly imaginative, daring debut collection of stories which illuminates with audacious wit the complexity of human behavior, as seen through the lens of the natural world.
Told with perfect rhythm and unyielding brutality, these stories expose unsuspecting men and women to the realities of nature, the primal instincts of man, and the dark humor and heartbreak of our struggle to not only thrive, but survive. In "Girl on Girl," a high school freshman goes to disturbing lengths to help an old friend. An insatiable temptress pursues the one man she can't have in "Meteorologist Dave Santana." And in the title story, a long fraught friendship comes undone when three buddies get impossibly lost on a lake it is impossible to get lost on. In Diane Cook's perilous worlds, the quotidian surface conceals an unexpected surreality that illuminates different facets of our curious, troubling, and bewildering behavior.
Other stories explore situations pulled directly from the wild, imposing on human lives the danger, tension, and precariousness of the natural world: a pack of not-needed boys take refuge in a murky forest and compete against each other for their next meal; an alpha male is pursued through city streets by murderous rivals and desirous women; helpless newborns are snatched by a man who stalks them from their suburban yards. Through these characters Cook asks: What is at the root of our most heartless, selfish impulses? Why are people drawn together in such messy, complicated, needful ways? When the unexpected intrudes upon the routine, what do we discover about ourselves?
As entertaining as it is dangerous, this accomplished collection explores the boundary between the wild and the civilized, where nature acts as a catalyst for human drama and lays bare our vulnerabilities, fears, and desires.
Bryn says: "The Mast Year" and "Flotsam" are just two of the stories in this book that will never leave me. This book is perfect for discussion groups since the meanings are endless. Here, anxieties are personified and the sometimes dystopian backdrop is just that - background - letting relationship dynamics take the spotlight.
No one really understands how we suffer. One day, when we're adults, we may come to recall this suffering, this misery, as silly and laughable, but how are we to get through the long, hateful period until then? No one bothers to teach us that.
Osamu Dazai was a master raconteur who plumbed--in an addictive, easy style--the absurd complexities of life in a society whose expectations cannot be met without sacrificing one's individual ideals on the altar of conformity. The gravitational pull of his prose is on full display in these stories. In "Lantern," a young woman, in love with a well-born but impoverished student, shoplifts a bathing suit for him--and ends up in the local newspaper indicted as a crazed, degenerate communist. In "Chiyojo," a high-school girl shows early promise as a writer, but as her uncle and mother relentlessly push her to pursue a literary career, she must ask herself: is this what I really want? Or am I supposed to fulfill their own frustrated ambitions? In "Shame," a young reader writes a fan letter to a writer she admires, only to find out, upon visiting him, that he's a bourgeoise sophisticate nothing like the desperate rebels he portrays, and decides (in true Dazai style): "Novelists are human trash. No, they're worse than that; they're demons. . . They write nothing but lies."
This collection of 14 tales--a half-dozen of which have never before appeared in English--is based on a Japanese collection of, as Dazai described them, "soliloquies by female narrators." No One Knows includes the quietly brilliant long story "Schoolgirl" and shows the fiction of this 20th-century genius in a fresh light.
--JAMIE STEWART of Xiu Xiu and author of Anything That Moves "Kind Mirrors, Ugly Ghosts moves and feels like a novel of ideas, yes, but also a lookbook of Rorshachs; a concept cookbook for famished phantoms; a fragmentary tour de force a la Duras. On every page, it lines the mind with vibrant space, as extraordinary in its candor about desire, artifice, and intimacy as it is with wordplay, wit, and social theory. "Death is a mirror of time, and life is not as heavy as it seems," Donato writes, beckoning us forward through the void of realism as might an imaginary friend we thought we'd lost--or should I say 'guardian angel'?"
--BLAKE BUTLER, author "In Claire Donato's fiction, I am both looking in and being looked at. The depths of desire are on display, laying bare the complexity and the ugliness that often comes with it."
--MOLLY SODA, artist "Claire Donato's prose is at once playful and masterful, charming and haunting--I loved these short stories with huge imaginations."
--CHELSEA HODSON, author of Tonight I'm Someone Else "Love is a source of radical questioning whose only enemy is indifference. Claire Donato's fever dream of a novel goes toe to toe with today's anomie, stretching our only resource left, language, so we can navigate a 21st century landscape of violently changing relationships, with one another, with the natural world, and with our bodies."
--JAMIESON WEBSTER, psychoanalyst and author In the disquieting stories of Kind Mirrors, Ugly Ghosts, a fractaled Claire Donato contemplates grief and disgust in heterosexuality, deconstructing the romance myth and the illicit fantasies which reflect our haunted selves. These fictions are populated with Lynchian characters, draped in memory and the subconscious mind, who imagine their way out of the painful limits of their world: a turtle retreats into its shell and becomes a real girl. A porn addict turns into a baby boy in the arms of his barren cyber-girlfriend. And a digitally-marred depressive joins forces with the ghost of Simone Weil to kill a chicken. Donato's fictions are precise and cutting, seamlessly integrating a vast knowledge of art through sharp criticism and a history of cult traditions: Donnie Darko, Wings of Desire, Daisies, and Twin Peaks and artists including Clarice Lispector, M.F.K. Fisher, Sibylle Baier, and The Velvet Underground. Kind Mirrors, Ugly Ghosts concludes with "Gravity and Grace, the Chicken and the Egg, or: How to Cook Everything Vegetarian", a novella-in-vignettes that frames cooking as an entrypoint to light, awareness, and connection. With associative lyricism and a preternatural ability to gaze into the void with tenderness, Donato relays an indescribably strange perception of our world, in which maniacal grief turns to a gleeful protest before becoming, against all odds, a love letter to what remains. Cover photo:
Jimmy DeSana
Contact Paper, 1980
Vintage C-print
(c) the Jimmy DeSana Trust
Courtesy of the Jimmy DeSana Trust and P-P-O-W, New York
Ben says: Donato's stories are both cerebral and deeply personal. Sometimes the subject is so immediate as to be uncomfortable. Much like their characters, the pieces here yearn for closeness while pushing the reader away. Strange in the best possible way.