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Check out the book trailer for this fantasy adventure for children!
When in the enchanted wood, Emily finds she has a surprising connection with her little dog and all of the other animals. When she discovers she needs to help rid the wood of marauding goblins, she must work with the animals to bring peace back to the woodland realm.
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Online journal TRACER (Toronto) is looking for short stories for short attention spans. Submit pieces 2000 words max. Any genre welcome. Deadline: Open.
The Sacrificial seeks concise, original, dark, humorous, twisted, and insensitively-sensitive works. Accepts short stories, poetic prose, dialogues, commentaries, etc. Length: 500 words. Deadline: Ongoing. Guidelines.
The Dream Quest One.com invites international entries for their Poetry & Writing Contest. Accepting poems (30 lines max.) and short stories (5 pages max.) on any subject or theme. First prize poetry: US$250; first prize short fiction: US$500. Entry fees: US$5 (poetry) and US$10 (fiction).
Deadline: January 24, 2016.
Bougainvillea Road Lit Mag is a new online journal looking for literary flash, short stories, poems, vignettes, standalone excerpts from longer work, and creative non-fiction pieces. Looks for writing that is eclectic, alive, and intrepid. Length: 2000 words max. Three pieces max. per submission. Send to Brian1750@hotmail.com. Deadline: Rolling.
Goreyesque, on online journal featuring work inspired by the spirit and aesthetic of Edward Gorey, is seeking short stories, poems, artwork and essays for their Halloween issue. Deadline: October 15, 2015. Guidelines.
Online literary journal and small press Pictures and Portraits (Toronto) seeks experimental prose and character studies from Canadian writers. Accept fiction, nonfiction, and poetry. Length: 2500 words or less. Deadline: Ongoing. Guidelines.
The most peculiar property of language is its symbolic function. The writer exchanges meanings for marks, while the reader performs the opposite task. There are no meanings outside us, or if there are, we do not know them. Personal meanings are made with our own hands. Their preparation is a kind of alchemy. Everything that we call rationality demands imagination, and if we did not have the capacity to imagine, we could not even speak morality or conscience.
—Leena Krohn, "Afterword: When the Viewer Vanishes"
Ann and Jeff VanderMeer have done wonders for the availability of contemporary Finnish writing in English with their Cheeky Frawg press
, and in December they will release their greatest book yet: Collected Fiction
by Leena Krohn.
I've been a passionate fan of Leena Krohn's work ever since I first read her book Tainaron
ten years ago. I sought out the only other translation of her writings in English available at the time, Doña Quixote & Gold of Ophir
, and was further impressed. I read Datura
when Cheeky Frawg published it in 2013. It's all remarkable work.Collected Fiction
brings together all of those books, plus more: The Pelican's New Clothes
(children's fiction from the 1970s, just as entrancing as her adult work later), Pereat Mundus
(which I've yearned to read ever since Krohn mentioned it when I interviewed her
), some excerpts and stories from various books published over the last 25 years, essays by others (including me) that give some perspective on her career, and an afterword by Leena Krohn herself.
This book is as important a publishing event in its own way as New Directions' release earlier this year of Clarice Lispector's Complete Stories
. It's a similarly large book (850 pages), and though not Krohn's complete stories, it gives a real overview of her career and provides immeasurable pleasure.
One of the wonders of this collection is just how big
it is. I keep jokingly referring to it as KROHN!
, and not just because of Jeremy Zerfoss's gorgeous cover, but because this is a doorstop of a book that collects the work of someone whose writing might often be described as delicate, miniature tales. Her books don't tend to be especially long, and even her novels are built of miniatures. But now we can hold this huge collection of decades of writing and its solidity is stunning.
In a helpful overview of the first thirty years of Krohn's writing (1970-2001) included here, Minna Jerman writes: "Gold of Ophir
is constructed in such a way that you could easily read its chapters in any order, and have a different experience with each different sequence." This is true for most of Krohn's novels, it seems to me, and is another virtue of her writing, something that makes it feel so different from so many other books, so truly strange, and yet so captivating, like a puzzle that isn't especially insistent about its puzzle-ness — or, to quote the great John Leonard
, it embodies "Chaos Theory, with lots of fractals."
This is what I want to tell you, then: Reader, you should get this book at the first opportunity and you should spend a year (at least!) reading through it in whatever order you feel like, letting it be a magical, mind-warping cabinet of curiosities, a wonderbox of a book. You should not devour Leena Krohn's writing. Savor it, take it in in small bits, because there are so many glorious small bits here. Why rush? This is rich, rich material. Just as no rational person would ever guzzle a truly fine scotch, so you should sip from Krohn's fountain of dreamwords.
And this is what I want to tell you
, O Writerly Types: This book is a gift to you, a tome of possibilities. Stop writing like everybody else. We don't need you to make your vision fit into the airport bookstore shelves. Those shelves are full. We need more writers who will do what Leena Krohn has done, who will seize language as a tool for dreaming back toward consciousness, who will find forms that fit such dreaming, who will not replicate the conventions of now but instead reconfigure their own conventions until they seem inevitable. Learn from this book
, O Writers. Let it inspire you to write in your own new ways, your own new forms, your own truthful imaginings.
In a trance, his hand already numb and senseless, accompanied by the rustle of the rain and the croaking of frogs, Håkan was taken through the eras toward the wondrous time when he did not yet exist.
—Leena Krohn, Pereat Mundus: A Novel of Sorts
Small independent journal The Quilliad (Toronto) seeks flash fiction, short stories, poetry, comics, photography, and art from Canadian writers and artists. Looking for literary science fiction and horror; magic realism; fairy tales, folk tales, myths, and legends; monsters, death, magic, and fear. Submit 1-5 pieces. Deadline: October 20, 2015. Payment: $12 honorarium plus copy. Guidelines.
PRISM international is now accepting submissions for their 2016 Short Fiction Contest, judged by Lee Maracle. First prize: $1500 + publication; more prizes available. Length: 6000 words max. Entry fee: $35-$45 (includes subscription). Deadline: January 20, 2016. Guidelines.
Words & Brushes invites writers to write a short story (length: 2000-5000 words) around an artwork from their image gallery. First prize: $300. Participants may enter as many stories as they like. No entry fee. Deadline: December 1, 2015. Guidelines.
The Los Angeles Review invites submissions for Vol. 20. Theme: Ekphrasis. Publishes fiction (“hard-to-put-down shorts”) under 1000 words as well as sequences of such shorts and/or stand-alone lengthier stories up to 4,000 words; nonfiction (1000-4000 words); flash nonfiction (“that cat-burgles expectations”), poetry and book reviews. Reading fee: $3. Deadline: December 1, 2015. Guidelines.
ArtAscent seeks submissions on the theme of “Haunting.” Write about spooky creatures, frightening places, eerie experiences. Entries may include fiction, poetry, short stories and other written explorations (up to 900 words). Open to international artists. Deadline: October 31, 2015. Guidelines.
Tethered By Letters is accepting submissions for the TBL Fall Literary Contest. Categories: Short story (1000-7500 words; $500 prize); flash fiction (55, 250, or 500 words; $150 prize); and poetry ($150 prize). Looking for engaging stories, vivid characters, and fresh writing styles. Winners published in F(r)iction. Entry fees: $7-$15. Deadline: December 1, 2015. Guidelines.
You can now order my upcoming collection Blood: Stories from the publisher, Black Lawrence Press.
The book will be released in January 2016, and BLP is offering it for a bit of a discount before the publication date (it's a big book — 100,000 words — so will retail for $18.95).
Should you pre-order it? I don't know. Yes, of course, I would like you to. And if you're going to order it online, this is a good way to do it, because you'll get it pretty quickly and a larger percentage of your money will go to BLP, so you'll help a small publisher stay solvent. Once the book is published, you'll also be able to buy it from bookstores, and since I support people spending as much money as possible in local bookstores, that's a great way to get it as well.
Actually, you should probably both pre-order it and buy it from bookstores, because why would you want only one copy? You need to be able to give them away to friends — or, if you don't like the book, to enemies...
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Blog: Perpetually Adolescent
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After its recent tumultuous history, the Qld Literary Awards are growing from strength to strength under the banner of the State Library of Queensland and a bevy of eminent sponsors. The 2015 shortlists have just been announced and the winners will be revealed at the Awards Ceremony on Friday 9th October in Brisbane. Some categories […]
I must apologize for not remembering on whose blog I first learned about Through the Woods by Emily Carroll because I owe that blogger a big thank you. Through the Woods is a short story collection like no other I have ever read. Why might that be? It is a book of graphic short stories.
When I got it from the library I didn’t remember about the graphic part of it and I worried that perhaps I had made a mistake. How can you do a book of graphic short stories? Novel, memoir, biography, but short stories? But you know what? It totally works and it is great!
The stories are of the very short and ambiguous kind and they are successful because the art and the text work so well together to move the story along. They have a fairy tale quality to them and they all felt vaguely familiar because of that but they are completely original. They all feature girls or young women. They are about things like a cold snowy winter and dad has to leave his three daughters alone. He tells them if he isn’t back in three days they are to go to the neighbor’s house. Of course he doesn’t return. The eldest daughter refuses to leave, insisting that dad will be back any time. The youngest doesn’t really seem concerned about anything in particular. And the middle daughter, the one telling the story, insists they follow their father’s wishes because if they don’t they will be completely snowed in and without food. And then during the night someone comes to the door and the eldest sister goes with that someone and doesn’t come back. The night after that, the youngest sister goes with the stranger. The middle sister is left all alone. The food is gone. She walks most of the day through the deep snow to the neighbor’s house and…
Another tale is about a father marrying off his beautiful daughter to the richest man in the county. The house is huge and gorgeous but something is not right. Someone keeps her up at night singing a strange song. Her husband tells her she’s hearing things that aren’t there. One night while her husband is away, she goes looking for the source of the song and discovers more than she bargained for.
The art in this book is amazing. Stark, deeply saturated color in a limited palette of black, white, scarlet red and deep blue, creates high contrast and a rich lushness that magnifies the creep factor of the stories. I raced through them all in less than an hour one evening before bed. The final story gave me such chills that I told Bookman if I have any nightmares Through the Woods is at fault.
A perfect RIP Challenge read for sure, but guaranteed excellent for any dark night or stormy afternoon no matter what time of year.
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Test your knowledge of Sherlock Holmes with this quiz, based on the novels and short stories, the canon's history and its place in modern day life.
The post How well do you know Sherlock Holmes? [quiz] appeared first on OUPblog.
The Great War: Stories Inspired by Items from the First World War by by David Almond, John Boyne, Tracy Chevalier, Ursula Dubosarsky, Timothee de Fombelle, Adele Geras, et al. | Read by Nico Evers-Swindell, JD Jackson, Gerard Doyle, Richard Halverson, Sarah Coomes, Nick Podehl
(2015, Brilliance Audio) is a powerful collection of short stories that view World Ward I and its repercussions from many different points of view.
The link to my short review for AudioFile Magazine is below. An audio sample is available at the link as well. Publisher recommended for grades 5 and up.
I'm still working on a follow-up post to my trip to the American Library Association Annual Conference in San Francisco. It was a great experience.
Ben Marcus's 2004 anthology The Anchor Book of New American Short Stories
is a wonderfully rich collection for a book of its type. I remember first reading it with all the excitement of discovery — even the stories I didn't like seemed somehow invigorating in the way they made me dislike them. I've used the book with a couple of classes I've taught, and I've recommended it to many people.
I was overjoyed, then, when I heard that Marcus was doing a follow up, and I got it as soon as I could: New American Stories
. I started reading immediately.
Expectations can kill us. The primary emotion I felt while reading New American Stories
was disappointment. It's not that the stories are bad — they aren't — but that the book as a whole felt a bit narrow, a bit repetitive. I skipped around from story to story, dashing in search of surprise, but it was rare. I tried to isolate the source of my disappointment, of my lack of surprise: Was it the subject matter? No, this isn't quite Best American Rich White People
. Was it the structure of the stories? Maybe a little bit, generally, as even the handful of structurally adventurous stories here feel perfectly in line with the structurally adventurous stories of 50 years ago, and somewhat tame in comparison to the structurally adventurous stories of 80-100 years ago. But that wasn't really what was bothering me.
And then I realized: It was the style, the rhythm. The paragraphs and, especially, the sentences. It wasn't that each story had the same style as the one I'd just read, but that most (not all) of the stories felt like stylistic family members.
And then I thought: What this book really demonstrates is the deep, abiding, and highly dispersed influence of Gordon Lish
. Lish's shadow stretches across the majority of tales in Marcus's book, as it did the previous book, and understandably so: not only is Lish a good candidate for the title of the most influential editor of "literary" short fiction in the US in the second half of the twentieth century ... but Marcus was nurtured by him, with Lish publishing quite a bit of his early work in The Quarterly
and then publishing Marcus's first book, The Age of Wire and String
. (The title of both the Anchor Book
and New American Stories
is a bit of a give-away, too: the subtitle of Lish's The Quarterly
was "The Magazine of New American Writing".) The effect feels more repetitious in the new book, perhaps because I'm now a decade older and have all those more years of reading short stories behind me (including readings tons for the Best American Fantasy
anthologies); but also, I expect, because the new book is more than 200 pages longer, and so the opportunity for repetition is greater.
It's not that either the Anchor Book
or New American Stories
is an anthology of stuff from the School of Lish (as Sven Birkerts called it back in the '80s). Some of Lish's students are, indeed, in these books — in the new one, I know that Sam Lipsyte, Joy Williams, Christine Schutt, and Deb Olin Unferth all studied and/or were edited by him, and Don DeLillo is a good friend and admirer of him. Plenty of the writers in the book may never have even heard of Gordon Lish. The influence is easily picked up from the writers Lish not only guided or influenced directly, but venerated by publishing them or saying good things about them to the world. Lish didn't just teach people to write in a particular way; he taught them to value particular moves in texts.
The writers in New American Stories
are all different in their approaches and backgrounds, certainly, and at least a few of them are writers whose work Lish would not himself value, but there's a bit of an echo between them, the echo of the Lishian sentence (the best analysis of which is probably that of Jason Lucarelli in "The Consecution of Gordon Lish"
). These are stories that (overall) value straightforward diction, relatively simple sentence constructions, and conversational tones and syntax. They prefer the concrete and the active. Many are built with odd repetitions and quirky juxtapositions.
You can feel it in the first lines — Lish famously calls first sentences the "attack sentence" and reportedly tells
students, "Your attack sentence is a provoking sentence. You follow it with a series of provoking sentences."
Here are some opening sentences from New American Stories
(I'll identify the writers later):
1.) Davis called, told me he was dying.
2.) "What you got there, then?"
3.) "Just let me out of here, man," said Cora Booth. "I'm sick. I'm dying."
4.) Four of them were on one side of a dim room.
5.) Like in the old days, I came out of the dry creek behind the house and did my little tap on the kitchen window.
6.) "What are you doing?" a guy asked her.
7.) It was the day before his cousin's funeral and Del ended up at the Suds washing his black jeans at midnight.
8.) Once, for about a month or two, I decided I was going to be a different kind of guy.
9.) "I don't know why I committed us to any of those things," Otto said.
10.) The day I got my period, my mother and father took me to pick my madman.
11.) I know when people will die.
12.) Root canal is one fifty, give or take, depending on who's doing it to you.
The first six of those are the entire first paragraph of the story. All of the sentences are pretty short, with the longest being #5 at 24 words. (And #3 is actually 3 sentences.) The diction is simple, with most of the words being one or two syllables, and none more than three syllables. Four of the openings are direct dialogue, with implied dialogue in others (e.g. #1). All of the openings are about people. The word guy
appears more than once.
I chose these openings pretty much randomly by flipping through the book, and I only organized them to put the ones that are a paragraph unto themselves together. The 20 other stories that I have not sampled here would generally seem similar. From those 20 other stories, here are the opening sentences that, to my eyes and ears, seem most different from those above:
A.) Father comes home after many years of forgetting us, of not sending us money, of not loving us, not visiting us, not anything us, and parks in the shack, unable to move, unable to talk properly, unable to anything, vomiting and vomiting, Jesus, just vomiting and defecating on himself, and it smelling like something dead in there, dead and rotting, his body a black, terrible stick; I come in from playing Find bin Laden and he is there.
B.) Though alien to the world's ancient past, young blood runs similar circles.
C.) After they shot the body several times, they cut its throat with a scaling knife; after that, they pinched its nostrils and funneled sulfuric acid into its mouth; while some set to yanking the body's toenails out with a set of pliers, others fashioned a noose from a utility cord they had found in the trunk of their car.
A and C are longer than 1-12 (behold: semi-colons!), and B is not quite about a human being. Interestingly, they're all about bodies, bodily fluid, and, in the case of A and C, pain, death, suffering. A is notable for its lyricism, B for its weirdness, C for having the only 4-syllable word that I've noticed among any of these opening sentences ("utility"). These are, then, the most extreme and radical opening sentences in the book.
Most of the writers of all of these sentences, whether 1-12 or A-C, likely do not know Gordon Lish's commandments for writing attack sentences. But I suspect we see the influence of Lish in two ways here: first, in how Lish has influenced Marcus's taste, since the one thing we can say about all of these stories is that Ben Marcus valued them; second, in how Lish's protégés have gone on themselves to influence the perception of what is "good writing" in the lit world.
Let's look at who the writers are:
1.) Sam Lipsyte
2.) Zadie Smith
3.) Wells Tower
4.) Jesse Ball
5.) George Saunders
6.) Maureen McHugh
7.) Donald Ray Pollock
8.) Kelly Link
9.) Deborah Eisenberg
10.) Lucy Corin
11.) Deb Olin Unferth
12.) Charles Yu
A.) NoViolet Bulawayo
B.) Rachel B. Glaser
C.) Kyle Coma-Thompson
(It's amusing to note that the two writers whose opening sentences include the word "guy" are Maureen McHugh and Kelly Link — writers who admire each other, and Kelly Link's own Small Beer Press published McHugh's [excellent] story collections. There's nothing to say about this coincidence except that Ben Marcus apparently likes opening sentences that include the word guy
The only Lish students I know of among those writers are Lipsyte and Unferth. But sentences 1-12 seem to me more similar than different in their approach. To know how much of this is just Marcus's own taste selecting stories that have such sentences and how much is stylistic similarity between the writers generally, we would have to examine collections of each writers' stories and see if they tend to begin their stories in the same way. That work is more than I can do right now, but it would be an interesting research project.
Compared to most of the writers in New American Stories
, the writers of A-C have fewer books published by major publishers and fewer awards (though NoViolet Bulawayo won the Caine Prize and her book
, from which the story "Shhhh" is taken, has done very well — still, until recently she was not part of the big lit machine), and I think this matters. One of my disappointments with New American Stories
is how much it reprints writers who have been published by major publishers and won major prizes. I had had hopes that the book would be more eclectic and surprising than this. For all his attempts at variety, what Marcus has given us overall is a bunch of stories that are valued by the kinds of people who give out major literary awards. And they are good stories — I don't mean anything I say here to reflect badly on any of the individual stories, many of which are extraordinary and all of which are in some way or another interesting. But the range of stories in the book is more narrow than I had hoped for.
Coming back to Lish, what's interesting is how his taste has so defined what I think of as the establishment avant-garde. We should put "avant-garde" in quotes, though, because it's not really out in front, and it's not particularly innovative anymore — indeed, it's the establishment because its structures and rhythms are passed down through writing workshops, editorial decisions, and awards committees. You can see this in the case of somebody like Gary Lutz
, a Lishian who may not be well known to the general public, but who has had a significant influence on a lot of contemporary short story writers in the lit world, as well as on creative writing teachers, particularly through his essay/lecture "The Sentence Is a Lonely Place"
(which I've myself recommended to some advanced writing students because it demonstrates to an overwhelming degree the depth with which one can think about sentences).
The effect of all this is to create a relatively narrow range for what is recognizable as "quality" in a short story. The familiar replicates itself. What a discourse community can perceive as good and bad, effective and ineffective, quality and kitsch depends very much on what it has previously seen as good, bad, effective, ineffective, quality, kitsch. Sometimes, that can be liberatory — Charles Yu, Maureen McHugh, and Kelly Link might be dismissed as writers of genre fiction if their tone and style was not close enough to that of the other writers in the anthology to sound familiar and thus be recognizable as part of the family of quality. I love that they're part of this book, but to understand why they fit so well in it, we don't have to speculate about the growing acceptance of genre content in the lit world, but simply note the similarity of tone, syntax, and diction to what is also here.
There's a long history to the particular qualities celebrated by Marcus and most of the writers he likes, and it's a history that predates Lish — if these stories feel like they have a lot of family resemblances, then it may be because they are the stylistic grandchildren of Gertrude Stein and Ernest Hemingway. (Or, to make a different comparison, the music they seem to favor is that of chamber concerts and small indie rock bands, not jazz clubs. Indeed, the echoes I couldn't hear at all in these stories are the echoes of jazzier writers like Ralph Ellison and James Baldwin. Maybe I'm tone deaf.)
So perhaps it is best to think of New American Stories
as a kind of family portrait, a reunion of the offspring (whether they know it or not) of Grandma Gertrude and Grandpapa Ernie by way of Daddy Gordon (and maybe Mama Amy Hempel
), along with a couple of kids who seem to have wandered in from the neighbor's house and who are nice to have around because they liven things up. New American Stories
is a good anthology, well worth reading, full of interesting stuff. It is not, though, a broad representation of what short stories can do or be, and for all its writers' concern with tone, resonance, and rhythm, the songs they play sound more alike than not.
As a little addendum to my post
about the somewhat narrow aesthetics of Ben Marcus's New American Stories
anthology, let me point you to Nick Mamatas's "Anti-Fragile"
, a story that does pretty much everything I was hoping to find somewhere in New American Stories
On Twitter, I said:
And that about sums up my feelings.
Well, also: I may be partial, as I am an avowed and longstanding lover of long sentences
, and this story is a wonderfully skilled, thrillingly long sentence. It's well worth reading and thinking about.
And the winner of The Book Awards top Kindle book for July 2015 is…
|Littleton Opera House, Littleton, NH c.1900, a location in the story|
I have a new story — my first (but not last) of this year — now available on the Conjunctions
website— "The Last Vanishing Man"
This one's a bit of a departure for me, in that it is a serious story that will not, I'm told, make you want to kill yourself after you read it. In fact, one of my primary goals when writing it was to write something not entirely nihilistic. Various people have, over the years, gently suggested that perhaps I might try writing a ... well ... a nice
story now and then.
(I actually think I've only written one story that is not nice, "Patrimony" in Black Static last year
. And maybe "On the Government of the Living"
. Well, maybe "How Far to Englishman's Bay"
, too. And— okay, I get it...)
So "The Last Vanishing Man" is a story that has an (at least somewhat) uplifting ending, and the good people triumph, or at least survive, and the bad person is punished, or at least ... well, I won't go into details...
Here's the first paragraph, to whet your appetite:
I saw The Great Omega perform three or four times, including that final, strange show. I was ten years old then. It was the summer of the Sacco and Vanzetti trial, a time when vaudeville and touring acts were quickly fading behind the glittering light of motion pictures and the crackling squawk of radios. What I remember of the performance is vivid, but I am wary of its vividness, as I suspect that vividness derives not from the original moment, but from how much effort I’ve put into remembering it. What is memory, what is reconstruction, what is misdirection?Continue reading at Conjunctions...
A very, very short story published on the 50-Word Stories website!
LYNNE NORTH: Progress
August 27, 2015 Artistic, Submissions civilization, Lynne North, nature, tree
‘People pass; most don’t notice my existence.
I lived through two world wars, bearing witness to horrors. I harmed no one.
Yet they want me gone.
They come to end my life. I hear the saws, suffer the cuts in my trunk. Soon I will fall.
They call it progress.’
Lynne North writes humorous fantasy novels for children. She decided it was time she tried something else…
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I was so excited to read Kelly Link’s newest story collection Get in Trouble. I read Magic for Beginners a long time ago and really liked it. It was so quirky and strange. The stories would be perfectly normal expect for the zombies. Or the rabbits. Or some other weird twist that made everything shift just a little off the reality axis.
Get in Trouble has much of the same thing going on. I am reading and the story seems ho-hum and then a small detail slips in and — wait, what, did that just say she has two shadows? But as weird as a story might get, the characters in it find nothing weird going on and they have the most banal conversations. It keeps the stories grounded and prevents the slightly off-kilter from wobbling into the absurd.
I should have liked the collection. And I did like several of the stories. There is one called “The Summer People” that manages to be both innocent and creepy at the same time. Another, “Secret Identity,” is everyday enough. A teenage girl playing online pretends she is much older than she is, hops a bus to New York City to meet the guy who likes her in person only to end up at a hotel where there are two conventions going on, dentists and superheroes. Everyone keeps asking her if she is a sidekick or there to apply to be a sidekick. And the man she is supposed to meet? Turns out he is a superhero but she never meets him for various reasons. It’s a good story about the masks we wear and who we really are underneath.
“The New Boyfriend” is also pretty good. Teenage girls and synthetic boyfriends that you can buy — take your pick between vampire, werewolf, or a few others. The ghost version is no longer on the market because there were problems. But Ainslie always somehow gets what she wants and Immy just can’t stand it any longer. Not a story so much about boyfriends, Immy has had a real boyfriend and Ainslie has not, but more about friendship and jealousy, popularity and social power.
The rest of the stories were uninteresting to me. The humor and weirdness rubbed me the wrong way. The strange was expected instead of surprising and it was even at times boring; the charm and shine faded.
Overall I was disappointed. I seem to recall other folks reading the collection and finding it lacking a bit too. Unfortunately I don’t remember who they all are. If you have not read Kelly Link before and have heard what a good story writer she is and want to see for yourself, don’t choose Get in Trouble as your collection of discovery. Go for Magic for Beginners instead.
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