Hello and welcome to this installment of Another Year of Fiction (AYOF). So far in this tour of short story land I’ve read the works of Neil Gaiman, Ernest Hemingway and Mark Twain. (I have also posted two short stories of my own to the bloggy). For my second update, I took a turn in a fairly opposite direction with two well-known but perhaps not quite as well understood authors. This would be the beloved children’s writer Roald Dahl, who had a second life writing bizarre stories for adults, and Kate Chopin, one of the earliest feminists whose own work ostracized her for decades. Can’t get much different than that, so let’s dig right into the major writing lessons I gained from diving into each collection (The Roald Dahl Omnibus and The Awakening and Selected Short Fiction):
Tell a good story. I can’t stress this enough as the major lesson to pull away from Dahl. While I’d argue I still like his stuff for kids better than these weird tales, they are no doubt memorable and creepy in ways I’m still processing. From a man feeding his small child royal jelly in the hopes of turning it into a bee, to a story about proposed wife-swapping, to one about a landlady who kills her tenants, these stories hook you immediately with a sense of the bizarre and reel you in through ‘til the end. Chopin obviously does this in her own way, using strong characters and interior narrative to drive the story forward.
Using a short story to speak about society. This is a lesson I’ve drawn from many works over the years, and once again Kate Chopin was showing us how to do it before the last century was dawning. The Awakening was by far one of the best pieces of short fiction I’ve ever read, and I would highly recommend it to anyone who wants to read something that tears at one’s very soul. That might seem a bit dramatic, but Chopin was writing about women’s liberation decades before society even allowed such talk in “polite” company. The fact that she was considered offensive due to the short story ending in the main character’s suicide should bear this out, as Chopin was attempting to put on display the emptiness/ennui that many women of her day felt (and feel today in Trumpistan).
Use of symbolism. Both authors are quite good at this in various ways. The first story I read of Dahl’s involved a parlor bet about wine tasting that quickly gets out of control, portraying family life versus money in a rather harsh light. But Chopin is the true master of this form, deftly weaving feminine insights into her short fiction, telling untold stories of affairs, unplanned pregnancies, and unbeckoned thoughts that occupy a woman’s mind when she think she might finally be free of her husband. These were all very real problems Chopin chose to grapple with, and we must all be thankful the feminist revolution gave her work the prominence it deserves.
While I will stop short of recommending Dahl as some of his stories put me off, they were all wonderfully written and worth the effort. It also gave me a newfound respect for his children’s work, as my wife and I read the BFG together at night (yes, we are old). And true to the opposite nature of this post, I can do nothing but highly recommend any of Chopin’s work, as it certainly deserves to sit within the American literary canon.
Up next I’m taking a foray into Raymond Carver, finally catching up with What We Talk About When We Talk About Love. And yes, it was the film Birdman that impelled me to want to read it. I’ll say no more, but please stay tuned until then. And as always, thank you for reading.
John Abraham is a published author and freelance journalist who lives in the Twin Cities with his wife Mary and their cat. He is writing a speculative dystopian novel and is seeking representation and a publisher.