John Stach Canada

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Like A Brief History, this story flirts with didacticism, but what is arguably more troublesome is its scattershot structure: it begins with a discourse on the nature and habits of Betta splendens, the so-called “Siamese fighting fish,” then starts to unfold an intriguing tale about a weight-loss clinic where the clients undergo “drug-induced and -maintained deep sleep, during which they’re fed vitamins through a drip”; when they wake up after 72 hours, the clients have lost at least one clothing size. This narrative sideroad is itself more or less abandoned in favour of the online abuse scandal. It is perhaps possible to argue that all these story strands share thematic elements in common – together, they interrogate issues of resilience and superficiality – though there is no real sense of internal cohesion at work here. Similarly, the interwoven narratives in the opening story, Books and Roses, which are held together by the motif of locks and keys (a symbolic pattern that will repeat itself throughout the entire volume), do not feel completely coherent, and the author is ultimately forced to resort to a newly discovered letter from the past – that hoariest of literary devices – to round out the story’s final act. Oyeyemi plays with archetypes (the evil ruler in the fable-like Drownings is referred to simply as “the tyrant”) and recognizable fairy tales (Dornicka and the St. Martin’s Day Goose is a reworking of the Little Red Riding Hood story), but there is frequently a sense that the author’s ambition has gotten away from her: These stories are often forced to shoulder more narrative weight than they can reasonably be expected to bear. By contrast, Rick Bass’s stories are models of concision and understatement. Though his work has been compared with that of Raymond Carver, Bass is not precisely a minimalist: Judged simply by their length, The Watch, Field Events and The Lives of Rocks are substantial stories, often flirting with the territory of novellas. On the level of the prose, Bass indulges in paragraph-long sentences that don’t resemble Carver’s (or his editor’s) ruthless paring away, but nevertheless eschew anything extraneous or ornate: “It was very cold outside – up above – and there was a steady stream, a current like a river, of the night’s colder, heavier air plunging down through their porthole – as if trying to fill the empty lake with that frozen air – but there was also the hot muck of the Earth’s massive respirations breathing out warmth and being trapped and protected beneath that ice, so that there were warm currents doing battle with the lone cold current.” What makes prose like this so difficult to pull off is it doesn’t offer the writer anywhere to hide: Like the characters he so frequently strands in the wilderness, Bass is left alone with only his instincts and skill to prevent him from succumbing to the elements. Because his writing is so restrained and subtle, it does threaten to adopt a surface sameness if the stories are read one after another. But For a Little While is such a generous volume – close to 500 pages featuring 25 stories written over the course of the author’s career (the earliest from the 1989 collection The Watch) – that it makes sense to read one or two stories then set the book aside and return to it later.

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John Stach Canada

John Stach Canada

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