Introduction

Confession: the only thing I enjoy less than writing non-fiction is writing non-fiction about writing.

I like making stuff up. I don’t like thinking about how or why made-up stuff works. Especially stuff made up by other people.

My favourite line about anyone, ever, is when art historian Michael Levey said of the painter Paul Cezanne that “his peasant-stubborn secretive nature made him detest theorising talk”. When I read that I thought “yep, me too, Paul”.

Also: when I went back and re-read what I thought were some of my favourite short stories in preparation for writing this piece – stories that I particularly remember being struck by, or moved by, or amazed by; stories that, in some cases, I hadn’t re-read in twenty-five years – I found that I didn’t even like half of them any more.

They were too overwritten, or too obvious, or too flashy, or too dumb, or too clever, or too long, or too specifically written by Raymond Carver.

I didn’t go back and re-read Angela Carter either, but that’s just because she’s already been done to death in this series. Obviously, I adore Angela Carter as much as the next rabid Angela Carter fan – and would, in fact, have been amenable to writing (badly) about Angela Carter’s short stories and nothing else for this piece.

I did go back and read one Ernest Hemingway short story, but only because I’m going to mention him in the context of Joanna Walsh, so I reckon we’ll be okay.

My second favourite line ever, by the way, is when art historian Michael Levey said of the painter Paul Cezanne that “his own efforts to overcome an inherent clumsiness and force himself on in pursuit of the significant made him largely indifferent to the work of others painters”.

I’m not altogether indifferent to the work of other writers, but I am inherently clumsy.

So: discounting the short stories and/or writers I don’t like any more, and mostly discounting the ones I adore but which/who have already been written about extensively in this series (and by better writers than me), I’m left with a bunch of stories about which I don’t have anything theoretical – possibly not even anything interesting– to say.

Certainly I don’t have anything anywhere near as interesting to say as the stories themselves do.

I think somebody once suggested that short stories, in the way that we encounter them, experience them, remember them, even forget them, are like love affairs. Or it might have been that novels are like love affairs, and short stories are more like sexy/exciting/disastrous one-night stands. Or maybe that was poems. I’ve likely mis-remembered the whole thing. It’s possible I made it up just to make a point.

Either way, is there anything potentially more boring than listening to someone tell you about a love affair/one-night stand that they once had?

Yes, there is. It’s listening to someone tell you about twelve love affairs/ one-night stands that they once had.

And so here, in no particular order, are mine.

‘Millionaires’ by Michael Chabon

The One You Spent Years Getting Over:

It’s possible that I wasted at least half my twenties being obsessed by this short story from Michael Chabon’s first collection – wanting to permanently inhabit its nostalgic, winter-afternoon mood of doomed and unnecessarily complicated young relationships, wanting to meet and fall in love with a woman as magnificently over-romanticised as its damaged and gloriously-named heroine Kimberly Ellen Donna Marie Trilby, wanting to somehow one day write a story exactly the same as it.

Harry was my best friend, but millionaires have squandered their fortunes, and men have lost their minds, and friends have tracked each other down for less than the sight of a lovely woman in nothing but a sweater.

Re-reading the story now I’m embarrassed by who I was then, and even more by who I wanted to be (it’s not for nothing that someone once wrote a paper on ‘The Short Fiction of Michael Chabon: Nostalgia in the Very Young’), but, my God, Chabon writes some beautiful, beautiful prose. And knows better than anyone how and when to leave stuff out.

I’ve also realised that the best story in that debut collection is actually not ‘Millionaires’ at all, but ‘The Lost World’ (there’s that nostalgia again), a much lower-key, coming-of-age piece that recreates with astonishing grace the exact moment when adolescence tips you out of childhood and into an unknown new country.

You should read them both, though.

(First published in The New Yorker, 1990. Collected in A Model World, and Other Stories, William Morrow/Sceptre 1991)

‘Engineer-private Paul Klee Misplaces an Aircraft Between Milbertshofen and Cambrai, March 1916’ by Donald Barthelme

The One You Don’t Want to Share with Anyone:

It’s not just this Donald Barthelme story that I don’t want to share with anyone – it’s allof them. I actually get upset, and jealous, and angry when other people talk about how much one of Barthelme’s stories mean to them. Because, really, how could they know? They weren’t there. 

Yes, Barthelme’s stories can be so playful – with their insistence on deconstructing structure and style and technique and everything else – that sometimes they topple over into glibness. They can come off cold. A lot of them were first published in ‘The New Yorker’, after all. They’re never completely silly, though. Never daft for the sake of it (which is what a lot of his imitators miss). There’s always a logic there.

And when there’s a heart, when Barthelme’s games accidentally uncover a moment of resonating, delicate emotional depth, almost in spite of himself, it’s lovely.

And so it is with this story of the painter Paul Klee, observed by omniscient the secret police, who comes up with an artistic solution to the loss of a plane.

To my surprise and dismay, I notice that one of them is missing. There had been three, tied down on the flatcar and covered with canvas. Now I see with my trained painter’s eye that instead of three canvas-covered shapes on the flatcar there are only two.

But what I’m saying iseven if, after reading this story, or all the ninety-nine other stories spread across this collection and its companion ‘Sixty Stories’, even if you think you get Donald Barthelme, trust me, you don’t. Because he’s mine.

(First published in The New Yorker​, 1971. Collected in Forty Stories, 1987. Available to read online here)

‘Spar’ by Kij Johnson

The One About Sex That Wasn’t Just About Sex:

A woman has sex with a shapeless alien. Lots of sex. Weird sex. Disturbing sex. Sex that goes on for months or possibly even years, as the pair are trapped together inside a tiny spaceship lifeboat. There are cilia and tendrils and muscle and slime, and piss and shit and snot, and bleeding and gagging and internal things breaking and worse.

It penetrates her a thousand ways. She penetrates it, as well.

The first time I read this (multi-award winning) story I almost fell over on a packed tube train. That’s how powerful it is. I didn’t know what to do with myself. I didn’t know where to look, or exactly how to feel.

“It’s deeply unpleasant… offensive on many levels,” Johnson has said of the piece, “this is a story I love without liking it at all”.

However, it’s also a beautiful, brutally honest meditation on grief and anger and boredom and loneliness in relationships, and on the ways we fail to communicate (and not just with aliens).

Okay, maybe beautiful is going too far. Tendrils, though.

(from At the Mouth of the River of Bees, Big Mouth Press, 2012. Read online here)

‘Fucking Martin’ by Dale Peck

The One That Taught You an Unexpected Lesson:

Like me and all other right-thinking people, you are obviously well aware that there are no ‘rules’ to what a short story should be or do or aim at or look like – and you know that anyone who says different is a liar and a crook who has no love for the format, or writing itself, or the world, or the two of us.

But.

But if I, or you – if either of us – were ever forced to talk about examples of short story writing ‘craft’ or ‘technique’, about pacing, and narrative tricks, and all those sorts of sneaky things? Well, we could do a lot worse than make people read Dale Peck’s short ‘Fucking Martin’, which, like Kij Johnson’s ‘Spar’, is about sex and grief and personal erasure, but which also has a one-line reveal/ reverse (if that’s the right name for it) toward the end that’s so powerful that I can still remember, twenty-some actual years later, the feeling of being punched in the stomach the first time I read it.

I don’t want to say anything else in case I spoil the effect for first time readers, but if you want to borrow my copy give me a shout.

(Read in Cowboys, Indians and Commuters: The Penguin Book of New American Voices, 1994. Also collected in Martin and John/Fucking Martin, St Martin’s Press/Chatto & Windus, 1993)

The One You Wish You’d Written: ‘Lord Royston’s Tour’ by Lydia Davis

I’m ashamed (or maybe a bit proud) to say I’d never read any Lydia Davis until a couple of years ago when I accidentally Won a Short Story Competition that I don’t like to talk about at every opportunity, and Lydia Davis’s was one of the names mentioned by someone trying to describe my Award Winning Short Story. And then I read ‘The Collected Stories of Lydia Davis’, and went “of course!” and “I am not worthy!” and also, sometimes, “what?”

Davis is usually ranked with Barthelme (that’s my Barthelme, remember) in the Whirlwinding Cavalcade of Fizzing Idea Fireworks! genre, which is fair enough because they are and she does and it is. But she’s less glib than The Donald, more rooted in real, complicated emotions and reactions to things (Davis does quite irritated better than anyone else I can think of).

And, like me, she loves, subtitles.

‘Lord Royston’s Tour’ is a story I wish I’d written, and one I’d have loved to write: a deadpan reconstruction – based on actual letters – of the real Philip Yorke, Viscount Royston’s 1806 tour of the Russian Empire, including his accidental death, full of delicious local colour and detail, told like an epic historical novel in miniature.

With the Help of Some Bark:
Over the Caucasus

As soon as he can sit on a horse he takes leave of his Georgian friends, and rides out of town. The snow and ice on Mount Caucasus, along with the help of some bark he gets from a Roman Catholic missionary, restore him to perfect health and strength as soon as he beings ascending the mountain.

Etc.

Is it a parody? A commentary? A narrative experiment? What does it mean?

Enough with the theorising talk, and shut up: it’s just a great story.

(In Almost No Memory, FSG, 1997 and The Collected Stories of Lydia Davis, 2009)

‘Night Geometry and the Garscadden Trains’ by AL Kennedy

The One with The Devastating Ending:

Everyone knows that, line for line, AL Kennedy is the best prose writer in the English language (including non-fiction; read her book ‘On Bullfighting’). This story was the first thing I ever read of hers, and ever since I’ve carried around the phrase “the good weight of him” as an example of how to get things perfectly, exactly right.

It all felt very pleasant. The good weight of him, snuggled down there, the smell of his hair when I kissed the top of his head. I did that. I told him I could never do enough, or be enough, or give enough back and I kissed the top of his head. I told him I belonged to him. I think he was asleep.

Kennedy deals with small, specific things. With the important details – of relationships, and train timetables, and the way couples arrange themselves together in bed. She’s the opposite of flashy, of show-offy writing, of fireworks. This story is about the importance of small lives, of the everyday, and of the awful, awful fragility of it all.

(in Night Geometry and the Garscadden Trains, Polygon 1990)