Until I was 12 years old, I lived in Sweden and read exclusively in Swedish. It wasn’t until we moved to France in 1993 that I became starved for books in a language I understood (it took a while to get the hang of French), and so began frequenting the many fantastic English bookstores in Paris. One of the stories I read before the move was this short, bittersweet, story of a borrowed coat.
I was never much for the canonical Swedish authors, their parochial concerns and preoccupations seeming completely alien to me. But Söderberg (1869 – 1941) is altogether excellent: grappling with genuine moral issues, his flaneurs wander around early 20th Century Stockholm trying to figure out how to live a good life while their author cynically gazes down on them. This was the first time I encountered a twist ending that did not seem cheap, but rather gave depth to all that had come before.
Collected in Modern Swedish Masterpieces, E.P. Button & Company, 1923. Read it online, in a PDF of the whole collection, here
Other than books assigned by teachers, most of what I read as a teenager was horror (I dabbled ever so slightly in fantasy and sci-fi), and until Stephen King’s collaboration with Peter Straub Black House in 2002, which I just could not get through, I had read every single thing King ever published. The way others can discuss Pynchon for hours making obscure paranoid connections between various characters in Gravity’s Rainbow, I can talk for days about the influence of drugs and alcohol on King’s early novels and the effect that getting sober had on his prose. And as much as some of his novels tend to sag and bloat, his short fiction has always been exemplarily pared down to the bones. David Foster Wallace’s ‘The Soul Is Not a Smithy’ owes a clear debt to King’s shorter fiction (I’m thinking especially of the Bradbury-riff ‘Suffer the Little Children’). But it is this novella that I remember most clearly, perhaps because it has a premise so preposterous that there is no way that it should ever be scary — a man forgets to return a book to the library and suffers the wrath of the supernatural Library Policeman — and yet, this was the first time I stayed up all night, too scared to sleep, terrified of what might be lurking in my closet, or under my bed.
Included in Four Past Midnight, Viking, 1990
I shouldn’t like this story: its metaphor (a boy swimming through an underwater tunnel as part of a dare and comes out on the other end a changed person, the coming-of-age trope personified) is too on-the-nose. But as soon as the “young English boy” in a foreign land jumps into the water at the end, the effect is overwhelming. Maybe it’s worth pointing out that ever since I nearly drowned as a child, water has terrified me, so this may not seem as anxiety-inducing to you all who enjoy swimming. But there is something about the short, clipped, sentences almost forcing the reader to take shallow breaths, making the panic experienced by the boy actually felt in the prose.
Originally published in The New Yorker, August 1955. Collected in The Habit of Loving, Thomas Y. Cromwell Company, 1957. Story can be found online here
Galloway’s novel The Trick is to Keep Breathing was the single most important book that I ever read. It was the novel that made me want to be a writer, and it was the novel that showed me the possibilities of the form beyond the rather staid 19th Century French stuff we were made to read in class. Les Rougon-Macquart and La Comédie Humaine, which I may appreciate now more than I ever did then, seemed outdated, indicative of a reality that was no longer. Galloway’s broken text and wild mix of literary (and non-literary) genres felt more real to me than anything I had ever read.
I immediately set out to read everything she’d written, and found a copy of her short story collection ‘Blood’ at the WH Smith’s on the Rue du Rivoli. Except, rather than finding it on the ‘literature’ shelf between Gaddis and Gass, the book was on a shelf labelled ‘women’s fiction’. Having spent years reading horror and only gradually making my way into the macho lit that was popular at the end of the 90s (your American Psychos and Fight Clubs) I was confused by the fact that the author I found more emotionally devastating than anything I’d read, was relegated to stand beside pulpy romance novels.
The story I remember most vividly is this short piece, written as a play, like the other “scenes from the life” that are scattered across the collection. Here, a (single) father named Sammy feels that he needs to make sure that his son, Wee Sammy, can stand up for himself, as he is about to start school. He makes the son sit on a mantelpiece, and tells him to jump off, that the father will catch him, and keeps telling him “would I let you fall?”, “don’t be feart, this is your da talking to you”. But of course, when the boy jumps, Sammy steps aside, letting the boy hurt himself.
“Let that be a lesson to you son: trust nae cunt,” is the story’s final line.
But what really stays with you is the detail that comes just before that: the father choking back a sob.
Included in Blood, Secker and Warburg, 1991
A giant balloon appears in New York, inflated by our narrator, stretching from 14th Street to Central Park, although the narrator “cannot tell us the exact location” of its beginning point. A “spontaneous autobiographical disclosure”. I love the reactions to the balloon, the mixed reviews it gets in the press, the way that the people of New York begin to locate themselves in relation to it, how the lack of advertising seems perplexing.
I remember when I was reading this for the first time there were rumours that Coca-Cola were planning to project their logo on the moon for Y2K, a project ultimately scrapped because the lasers would need to be strong enough to “cut planes in half” for it to work. Somehow, that seemed perfectly logical to me, as though of course a brand would project itself on the moon. The balloon, however, has no visible purpose, and is all the more confounding to the story’s characters because of it.
First published in The New Yorker, April 1966, collected in Sixty Stories, G. P. Putnam’s Sons, 1981. Can be read online here
I am frequently confused by literature’s seeming lack of interest in corporate life. We work constantly, in the industrialised west, answering emails on our holidays, checking our phones just as we wake up, but so much fiction seems to be interested only in the stuff around work. ‘Mister Squishy’ shows how you do it, the entire story taking place in a focus group where they are testing reactions to a new chocolate snack, the narration switching between corporate jargon and acutely observed characters who are struggling to fit the moulds that capitalism requires them to fit.
Oblivion was the first time I really got David Foster Wallace, having tried (and failed) to read Infinite Jest and having thoroughly disliked Girl with Curious Hair. I found this at one of those bookstores that has more Moleskines on display than actual books, and since I saw very little else of interest, I thought I would give Wallace another try. I am glad I did: if there is one story I wished I had written, this would be it.
First published in McSweeney’s #5, 2000, as ‘Mr. Squishy’ under the pseudonym Elizabeth Klemm, collected in Oblivion, Little, Brown, 2004
(I could just as easily have chosen ‘Tlön, Uqbar, Orbis Tertius’, to be honest.)
I was sitting on a Southern train in London, with this paperback edition of Labyrinths, one of the many books I’d spent my meagre salary on at Foyles, and the parafictional genius of Borges washed over me, making me want to reach out to my fellow passengers to discuss just what Borges was accomplishing, how mind-bending and wickedly funny it all was, coupled with the dizzying sense of unease at not knowing how much of what he is writing actually comes from real sources.
When I got back to my aunt’s house where I was staying I remember going on Twitter to see if anyone had tweeted about this weird boy on the Surrey train cackling to himself.
first published in Spanish in the Argentine journal Sur, May 1939. Collected in Labyrinths, New Directions, 1962. Can be read online here