I have two paperback copies and a kindle download. This gives you an idea of how much I enjoyed it. The doubling up of the paperbacks is down to a joyful discounted purchase of the Booker shortlisted books in 2012. I have yet to read Wolf Hall.
The lighthouse caught, and held, my attention partly because of its sadness and for the emptiness of the main character. His life has fallen apart around him and he sets out on a journey, a walking trip to Germany. It is a journey that appears to mirror his own sense of a loss of direction. The abandonment of his mother, and the disappointment of his ex-wife and father, garner sympathy from the reader through Moore’s cleverly crafted narrative. A chilling and suspenseful read. So much emotion is conveyed through very scant explanation.
I have subsequently read her more recent short story collection, The Pre-War House and Other Stories. I reviewed the collection in previous post.
|If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing.
|—Ernest Hemingway in Death in the Afternoon[1
This quote from Hemmingway’s, Death in the Afternoon, is a timely reminder that most of what the reader picks up from a really good piece of prose is submerged. Writers sometimes go to great lengths to make sure that the reader understands every detail and assumes a lack of understanding. Writing can, in this instance, lose it’s subtlety and and crush the flow of the words. You can feel what a good writer is implying without the words actually reaching the page. A good book is charged with these undercurrents and the reader can dig down and grasp emotions and ideas which are never actually written.
To give an example, yesterday I read the Costa Short Story Award winner Avril Joy’s beautiful piece, Millie and Bird. I won’t give anything away but the key theme is always implied, never stated, and deftly written in the hands of a writer who knows her craft. Her story is both lyrical and compelling. Those of you who have been following know that I am currently immersed in short stories (both reading and writing) and I was particularly struck by this one. A well deserving winner, I would say.
Alison Moore’s, The Lighthouse, also follows a strong theme of rejection and loneliness without it ever being stated. The reader is swept away by the desperation of the protagonist’s situations in both his past and present.
I particularly like Hemmingway’s description of the dignity of an iceberg’s movement. Remembering that those critical seven eights of its mass are under water should serve as a warning not to push everything up to the surface or to write all the words into the frame of your picture.
Having spent months editing Take Me to the Castle I have missed the writing process, which is what writers love. Editors scour written work for grammar, punctuation, style, consistency. Publishers focus on pulling a book together professionally and marketing it to readers. Writers love to craft novels and stories. I think we come unstuck when it is time to take a scalpel to the writing and cut out or change words, re-read, re-write, and change any inconsistencies. So I decided to take action and write some short stories and flash fiction. This has served two purposes – It has given me the opportunity to write in a shorter timescale than I would a whole novel, and it has sharpened my skills as a writer. I will keep you posted on the release of these. My aim is to publish an anthology in the future, with a collection of short stories and poems.
I have had some communication with the lovely Alison Moore, author of The Lighthouse, which was shortlisted for The Man Booker Prize for Fiction. She says that she began her journey into writing by writing short stories, and that it tightened her style and honed her craft. I had already read ‘When the Door Closed, It was Dark’ in The Best British Short Stories 2011 by Salt Publishing, and loved it. So I set to work on short story writing and have also written flash fiction, generally under 350 words. For the writer it teaches you to keep the essence of your story within limited boundaries, and for the reader it is a pleasure to read something which is short and intense – like a good espresso!
Before I get back to my coffee, I just want to leave you with an exclusive short story by Hilary Mantel, The Long QT. It is striking in so many ways. Let me know what you think.
What are your experiences with reading or writing short stories and flash fiction? Do you prefer these styles of writing to novel-length work or vice versa? Have your say and feel free to share any of your own reading or writing experiences with short stories or flash fiction.