‘The Devastating Boys’ by Elizabeth Taylor

Elizabeth Taylor was on my bedside table in the hospital when I gave birth to my first child. ‘The Devastating Boys’ is about a childless woman in a prim English village fosters who fosters two rough little boys from London just after the war. Nothing dramatic happens: it’s just a devastatingly real portrayal of what love is like, and how it will run its own roads through your life – a bit like ‘Livvie’ I suppose.

First published in McCalls, 1966 and collected in The Devastating Boys (1972) and the Virago Complete Short Stories, 2012

‘Friends’ by Grace Paley

Grace Paley’s stories should be in the birthing pack for new mothers, along with the muslins and nappy wrap. No one else is as a good at the way women talk to each other, especially in the mothering-places like the playground and the park. Her women are difficult, funny, fantastically diverse, frank and above all resilient, making the best of some hilariously bad jobs. The talk seems to go on through the stories, one to the next, in a never-ending stream, but I’ve picked ‘Friends’ because its ending – “I was right to invent for my friends and our children a report on these private deaths and the condition of our lifelong attachments” – has become a sentence that lives in my head, like Harriet’s eating or Mansfield’s budding girl.

First published in The New Yorker, June 1979. Collected in Later the Same Day (1985) and the Collected Stories (FSG, 1994/Virago Modern Classics, 2018)

‘People Like That Are the Only People Here’ by Lorrie Moore

I was late to the Lorrie Moore party, but I made up for it by discovering her just when my favourite collection, Birds of America, was published, and then consuming every word she has published since, fiction or not – in fact her lively intersection is one of the best things about her work. The story ‘People Like That Are the Only People Here’ affected me profoundly: I read it over and over for weeks. It’s about a mother whose child develops a childhood cancer, and their experiences in the hospital. Her observation, her acuity, her humour, and above all her honesty and her confidence that these sort of experiences could make a story were liberating for me: a few years later, I drew directly on this story for an early one of my own, ‘The Not Dead and the Saved’.

First published in The New Yorker, January 1997 and collected in Birds of America (Knopf/Faber, 1998) and the Collected Short Stories (Knopf, Faber, 2008)

‘Here’s to Love’ by Anne Enright

I would like to be Anne Enright when I grow up, but I fear I may have missed my window. I love her sentences and perspicacity. I think she’s a short form artist really – her novels fall into segments, like oranges, and her essays are marvellous. ‘Here’s to Love’encapsulates many of the things I love best: the sharp dialogue, the unaffected, apparently artless structure, the gripping characters, the wit, and that pragmatic optimism which is also in the non-fiction.

“I still walk down the street most evenings. And every time I do this, I think about a bullet in the back – about the fact that most of the time, it does not happen to me,” says the protagonist: another mantra for me.

First published in The Guardian, December 2007 and collected in Taking Pictures (Jonathan Cape, 2008)

‘Evie’ by Sarah Hall

Reviewing can also be the opposite of absorption. Sarah Hall’s Madame Zero, though, knocked me right out of my critical pulpit. In fact it winded me: it took me a week or so to frame any thoughts at all. All the stories were great but I envied ‘Evie’ especially. It’s about sex and threesome, ostensibly “She always invited the other back in. He wanted to watch from the chair; he watched her being. touched, grasped, opened, watched her responding. He began to understand: jealously was only desire; it was wanting to do what he could see was being done to his wife.” But in fact it is about marriage, and death and illness and madness. I read it over and over: I hope to do as well one day.

First published in The Sunday Times, July 2013 and collected in Madame Zero (Faber, 2017)

‘What I Did on my Summer Holidays’ by Paul McVeigh

Paul McVeigh’s novel The Good Son (2015) conveyed to me more of the atmosphere of the Troubles in Northern Ireland than any number of factual accounts. Its hero, young Mickey Donnelly, was introduced to readers some fifteen years earlier in this short story. Mickey’s voice and his feistiness are there, loud and clear, and McVeigh is already showing his ability to navigate the geography of both the Ardoyne and the human heart with great precision. Remarkably, he says this was his first attempt at prose, never mind a short story!

First published in the anthology New Century, New Writing, ed by P-P Hartnett, Millivres Press, 2000, and available to read online here. Chosen by Cath Barton: read Cath’s Personal Anthology here

‘An Encounter’ by James Joyce

The summer holidays were near at hand when I made up my mind to break out of the weariness of school life for one day at least.

The narrator is either a precociously literate schoolboy or an older man recalling an earlier time – it’s hard to tell. He describes “a day’s miching” with another boy, Mahoney, in which the pair bunk off together, walking along the quays, eating currant buns and enjoying “the spectacle of Dublin’s commerce”. They cross the Liffey by ferryboat and head for The Pigeon House (with it implications of flight), roaming around the impoverished backstreets of Ringsend.As the day grows sultry they feast on biscuits and chocolate and bottles of raspberry lemonade. Too tired to reach their destination they rest in a field where they are approached by an old man “shabbily dressed in a suit of greenish-black”, a Beckettian tramp-like figure with a good accent who embarks on a series of unsettling monologues, first and innocuously about literature, then about “girls”.

He gave me the impression that he was repeating something which he had learned by heart or that, magnetized by some words of his own speech, his mind was slowly circling round and round in the same orbit.

Like a priest reciting the liturgy? After this eerie monologue he retreats to the end of the field. The narrator does not see what happens next, but his companion Mahoney does:

“I say! Look what he’s doing!”
As I neither answered nor raised my eyes, Mahony exclaimed again:
“I say . . . He’s a queer old josser!”

Most readers will assume the old man is masturbating, as Bloom does on Sandymount Strand in Ulysses, although on first reading the story I assumed he was either urinating or defecating. Surely, I thought, if he’d actually been wanking the boys would have fled, perhaps hurling insults and rocks. It’s left to the reader to imagine the scene. Perhaps he’s praying.(In his version of the real-life encounter, Joyce’s brother Stanislaus calls the man a ‘juggins’ (a simple-minded or gullible person, a simpleton; the equivalent American term might be ‘doofus). Many years ago an English professor told me that ‘josser’ was once a slang term for God, which raises not a few questions. It’s a claim I’ve never been able to verify but am happy to pass on for your consideration. If the episode offers any epiphany, or sudden spiritual illumination, it is a particularly downbeat one.)

Fourteen other short stories make up Dubliners – the greatest of all short story collections, each exploring themes of loss, inertia, indecision and flight. They were published when the author was still in his early twenties. You could read one a day for two weeks.

From Dubliners, first published 1914. Read it online here. Chosen by David Collard: read David’s Personal Anthology here

‘Kid Sister’ by Yūko Tsushima, translated by Gitte Marianne Hansen

This story begins in medias res, as if, like Pegman on Google’s Street View, the reader is dragged and dropped into the narrative on a sizzling Japanese beach, “…and so my timing was thrown off. And so a space opened in my emotions.” These are the summers we all can’t quite remember – the summer of our burgeoning sexuality, of our changing bodies in our brand-new swimsuits, of our crushing crushes and fizzing desires, of being stung by jellyfish, burned by the sun and scorched by first love.

Yūko Tsushima (1947-2016) was the daughter of the extraordinary Japanese novelist Osamu Dazai (check out his No Longer Human in all its Japanese existential autobiographical angst). Her father had left the family home to live with his mistress and, just after Yūko’s first birthday, he and his lover had committed suicide by drowning themselves in the Tamagawa Aqueduct. There is a lot of water in Tsushima’s work, a lot of death, a lot of missing fathers, and her fiction concentrates on abandoned woman fighting their way in a misogynist society, a feminist viewpoint against a male-dominated society.

The story has similarities to Yukio Mishima’s ‘Death in Midsummer’, which also concerns sunburns, sandcastles, the sea, death, fathers and also has a character called Keiko. Tsushima’s work is sparse and incandescent, dreamlike while dealing with real problems. For further reading, go to Territory of Light and Child of Fortune, both Penguin Modern Classics. Another of her summer stories I could have chosen – ‘The Watery Realm’ – is in the pocket-sized Penguin Modern series along with ‘Of Dogs and Walls’.

First published in the short story collection Watashi (I), 1999. Its only English translation is online at Words Without Borders. Chosen by Steve Finbow. Read Steve’s Personal Anthology here

‘The Colossus of Rhodes’ by Chris Power

There is more than one summer-themed story in Chris Power’s sparkling debut collection. I could just have easily picked ‘Innsbruck’, the second of the three linked stories about a woman called Eva that give the book not just its spine but also its central nervous system – but I’ve gone for ‘The Colossus of Rhodes’. Power splits the story between a recent family holiday (his unnamed narrator is married, with two young children) and a long-distant one, when he was ten years old. There are delicately sketched pen-portraits of the various family members, and a couple of luminous ‘spots-of-time’ moments that suck the story into them like a whirlpool*, but what I really love is the elegant way it unpacks itself at the end, making this the perfect story for our autofictional times. It doesn’t matter how closely Power’s ‘real’ life and experiences might happen to align themselves with his narrator’s fictional ones; what matters is how deftly he teases away at that border, and the conundrum it poses, which is where we seem to be looking, most often and most closely, for our meaning in literature just now.

* One of these moments, serendipitously enough, makes direct reference to another story picked in this summer special. You’ll have to read it to find out which.

In Mothers, Faber, 2018. Chosen by Jonathan Gibbs. Read Jonathan’s Personal Anthology here

‘Drowning’ by Joanna Walsh

And, if you reach the beach, walk back across it like everything is fine, toward your family who would not like to see the abyss you have just swum over.

A last line suggestive of a mother’s happy reconciliation with her family after a near-drowning undermines our wilful happily-ever-after with its “if”. Undecided, the story throws the woman back into the sea, keeps her there, “moving arms and legs”, near-drowning, near-happily-ever-after. Not sure. How quickly summer holiday stories turn sinister, or how sea under sun dazzles, makes us giddy. But that’s not what I read here, in this lush story where “The tarmac is a warm body beneath my feet”. What I read is the domestic tyranny, the maternal drudgery that even a holiday, a French village, a strip of sea can’t shake. A woman steps into the sea so as to no longer see whether her partner is choosing to pay attention to their children or choosing to read a book. She swims the channel so as to no longer be able to see, to no longer have to know. It’s a brief act of maternal finitude and one that sheds an acerbic light on parenthood. “Shall I tell you what it is like to drown? It is very calm and quiet.” As in, it is calmer and quieter to drown than to mother?

In Vertigo, And Other Stories, 2016. Chosen by Olivia Heal

‘Out of the Strong, Something Sweet’, by Leesa Cross-Smith

I suppose I associate Leesa Cross-Smith with summer because I discovered her in in July of 2014. (I know the date because it’s when I started my Twitter account, and I joined Twitter pretty much to stalk her, I liked her work that much.) I also feel there’s some sort of summery-ness about all her work, whether she’s writing about the season or not: it takes the form of a buoyant energy, a playfulness, a brightness. ‘Out of the Strong, Something Sweet’ is no exception: I read it as soon as it was announced on Twitter (the following paid off!), and I love it because it encapsulates so much about summer, coming of age, female friendship, boys, kissing, and a part of the world not far from where I grew up, without once going exactly where you think it’s going to go. This is the kind of story that lulls you into thinking you know how it’s all going to play out, and then ambushes you with fearless, magical, risk-taking writing that pulls that proverbial rug right out from beneath your feet. I won’t spoil the structural surprise, but my heart thrilled once I reached the first set of three asterisks and watched the piece bloom, stretch and shimmer.

I can’t mention this piece without also noting Jazzmyn Coker’s accompanying artwork, which so perfectly frames this piece.

Published in Paper Darts, 2016) Chosen by Ingrid Jendrzejewski

‘The Skylight’ by Penelope Mortimer

Set in rural France during the 1950s, this story uses the classic device of terrorising the reader over the fate of a five-year-old child, who is encouraged to enter a locked holiday house via the titular skylight and open the window downstairs. The mother, frazzled from travelling on her own with her son, is nicely drawn. Students I have shared this with have been split over whether she is a victim of circumstance and the age she lives in, or a neurotic idiot who shouldn’t be in charge of a child. I tend towards the former, as a parent of young children who knows it’s not plain sailing. A brilliant piece of ordinary horror and the ending is one of surprise that leaves me reeling after many, many reads.

Collected in Saturday Lunch with The Brownings, 1977) Chosen by Andrew McDonnell

‘Spiderweb’ by Mariana Enríquez

Set during the sweaty Southern Cone summer months, you’ll never experience a “happy couples’ holiday” with your beloved partner in quite the same way again after reading this! I love the slow build-up of tension and dread in this story, the strangeness of its details (like the disappearing fire glimpsed from an airplane), the A.M. Homes-esque brutality of the narrator towards her irritating husband, and the totally out-of-left-field (yet completely perfect) ending. You can’t have a story about disappearances set in the Río Plata area not seem like a commentary on historical atrocities, but the sly way this piece develops and builds upon this theme, in a way you wouldn’t expect, is utterly singular. I suggest reading this with a caipirinha in hand, bugs crawling over your feet, and plenty of sickly-smelling sunscreen burning your eyes.

First published in The New Yorker, December 2016) Chosen by Julianne Pachico. Read Julianne’s Personal Anthology here

‘Tea at the Midland’ by David Constantine

Although it is set in winter, David Constantine’s superlative ‘Tea at the Midland’ always reminds me of the beaches of north Cornwall where, as a child, I spent two weeks every summer. I have read the first six sentences so many times I’d like to think I could recite them. Take the fifth: “And under that ceaselessly riven sky, riding the furrows and ridges of the sea, were a score or more of surfers towed on boards by kites.” Every time I stand on a sandy British beach nowadays, I think again of this story and I try to remember the way it darts at unexpected angles repeatedly right to the very end. It is almost sinister, it is almost very funny: “So he said again, A paedophile is a paedophile. That’s all there is to it.” You might gasp, but the story keeps turning. The couple are having an affair. They are having cream tea. They are having an argument. It is banal and it is British and it is brilliant. The world shifts. You start again.

Winner of the BBC National Short Story Award, 2010. Collected in Tea at the Midland, Comma Press, 2012) Chosen by Lara Pawson