Been reading some Mavis Gallant short stories recently and surprised that I had not spent more time earlier in my life with them. They do tend to shine for someone that has experienced the world and I think I may have missed some of her intimate details when it comes to the way she can very perceptively describe her characters' emotions and POV. Anyway here is an interview where she discusses some of her craft at the site Aurora Online:
Aurora: In defining the short story, often textbooks resort to saying what the short story is not: it's not an anecdote, it's not a reported incident, it's also not a novel.
Gallant: It can be a reported incident, but the writer should know more about it than the writer says, and that should be apparent to the reader. There are Chekhov short stories that are merely incidents, but he knows absolutely everything humanly possible about them, and that is what comes through to the reader in a very few words. That is the difference between a reported anecdote in a newspaper and a work of fiction. That is art.
Aurora: Do you feel that people—textbooks, perhaps—are reducing the short story when they see it in terms of another form?
Gallant: It is another form altogether. Writing a short story is different from writing a novel. A short story is extremely difficult, not that a novel isn't, but a novel is difficult in another way. Hardly anyone was ever constantly on tiptoe for the length of a novel. Oh, someone like Virginia Wolf, yes. But in a successful short story, you are standing on your toes the whole time; you don't dare let down for a second because a word too many or too few and the whole thing collapses. It's very tense. Writing a novel is a bit more relaxed. It's longer, and perhaps you can take a few more chances.
Aurora: Edgar Allan Poe theorized about the short story claiming that it dealt with a single effect to which every detail is subordinated.
Gallant: Well, in the long run that's true. I don't think one sets out thinking, “I am going to do this and this.” I think the short story aims in one direction, so you see the end of the road from the beginning. I don't like trick short stories like Maupassant, and I don't like O'Henry, that kind of thing. But anyway it's out of fashion.
Aurora: The traditional view of a plot with five stages—an exposition and rising action, crisis, falling action, resolution—is really no longer valid for many contemporary short stories. In fact, it's been said that your stories move in a helix fashion, and I think you've, said that your stories build like a snail growing out from the centre.
Gallant: Oh no, that was William Maxwell, my editor at the New Yorker for 25 years. After ten years he sent me a letter and said, “You finally stopped going round and round.” But he had never once before told me that I went round and round.
Aurora: So you consciously are not going round and round?
Gallant: I wasn't aware of it. I can't imagine leading into a story with the weather or the colour of the sky. I don't despise those stories, but I wouldn't imagine doing it myself.
Aurora: What is at the centre of your story?
Gallant: Well, the first glimpse of any story is an image in my mind. It's always an image of someone doing something. I don't write anything yet. I have just seen this thing. It's like a nucleus around which different things build. I can't really explain it in a way that would be satisfactory to a student, for example, for every writer works differently, but this is what happens with me.
I have been asked to write for an anthology, Ten Best American Stories of the Year. I was asked to explain a bit about how I came to write the story, and I was at a complete loss. I don't know how I come to write anything. There is a very quick image which goes round and round, as William Maxwell said, and then I can write it. I know that's not helpful because I don't think it's possible to describe the creation of fiction. It's a very odd process, and if you begin to describe it, you begin to sound as though it were a mechanical process with the author as a transmitter and, of course, that's utter nonsense because it's not metaphysical.
Aurora: In The Pegnitz Junction, you stretch the limits of the traditional use of point of view. You tell the story from Christine's point of view, but she actually is receiving the thoughts of the other characters.
Gallant: Fiction. That to me is the writing of fiction. I truly enjoyed writing The Pegnitz Junction, and I didn't care if it was ever published. I absolutely adored writing it. I wrote it in a great hurry and put a lot of things into it that I liked and that amused me. It's one of the few things I can reread.
Aurora: I feel sometimes that she is almost helpless. They are transmitting, and she has to receive these waves, these messages. Sometimes she doesn't know what to do with them.
Gallant: But it's not metaphysical. I absolutely refuse that! I won't have it! No, I'm joking. The things that she sees out of the train window all had a reference to German literature. I was just having a good time with it, and a lot of it is satire. There are names in it from Wilhelm Busch, the German caricaturist. That thing in the castle is obviously just a satire of Kafka's castles. Even the names I gave people, if you look at them closely, are satire. But I just did it for myself.
Aurora:At the same time, I have read that you were exploring the whole phenomena of the rise of Nazism.
Gallant: Was I now? When I was writing the stories that were in the book—not the novella—I was fascinated with Germany, but that has something to do with my generation. I am the war generation, and I was never satisfied with anything that I had read about it. Everything seemed to me to be written in black and white, and I wondered if I could do something with fiction. I thought it had to be done at a kind of lower middle-class level. I think that's where it all arose, the Nazi movement. I got very much into it, then I couldn't do anymore, so I stopped. That was when I wrote all those stories, as well as a couple that were in other anthologies.
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