Today we are happy to share the news of past contributor Maggie Kast! Her personal essay titled “Wide Awake and in Good Voice” was just published to celebrate the 40th anniversary of Links Hall, an art and performance space in Chicago. Maggie is a board member and her essay focuses on her experience working with the space and the people who run the institution. Maggie also has her newest book, Side by Side and Never Face to Face: a Novella and Stories to be published in May 2020 by Orison Books.
Maggie’s essay for Links Hall’s 40th anniversary series can be found here, more information about her forthcoming collection can be found here, and her nonfiction piece for S[r]’s Issue 19 can be found here.
Today we are happy to announce the news of past contributor Jacob M. Appel! Jacob’s newest selection of short stories, Amazing Things are Happening Here is to be published by Black Lawrence Press this April, 2019. In total of eight stories, Jacob continues to explore themes of truth, specifically how humans tend to bend it. As a physician, attorney, teacher and bioethicist, Jacob brings a unique perspective to fiction laced with humor and obvious knowledge of what it means to live a human life.
More information about the collection can be found here, Jacob’s fiction piece for S[r] Issue 11 can be found here.
We are happy to announce the news of past contributor Sherrie Flick! Her latest collection, Thank Your Lucky Stars,was published last September in 2018. Sherrie will be attending the AWP conference from March 27-30 to appear on panels and offer readings and signings. Thank your Lucky Stars is a collection of fifty stories ranging across all subjects and emotions. Each story attacks the human experience and details love and loss in poetic images and quick wit.
More information about the collection and Sherrie’s upcoming events can be found here, and her nonfiction piece for Issue 10 can be found here.
Enter a commercial bookstore – say, Barnes and Noble – and take a look at the display sections. Likely what you will find are different novel-length books, be it fiction, nonfiction, fantasy, or young adult. Enter the shelves and, if you search a little, you will be able to find collections of short stories by some particularly well-known authors, or maybe an entire section devoted to short-story form. For many amateur writers there is a sense that one starts writing short stories only to better understand the structure of a story, but “real writing,” successful writing, involves novels. Short stories are a way of getting one’s name known to better sell a novel later, or a way of generating ideas and themes that will eventually show up in a later novel.
This is not to say that short stories are not an often-used form, but rather that they are not marketed or praised with as much enthusiasm as novels. Book clubs, college essays, even library shelves are more likely to be promoting novels than short fiction.
Is that still true? There are thousands of literary magazines with focus on short stories across the country, and MFA Creative Writing programs are bursting at the seams with hopeful writers – most who are learning to write short stories as their primary craft. Almost three weeks ago, Junot Diaz, an author who won the Pulitzer Prize for his first novel released not another novel but a book of short stories. It is currently fifth on the New York Times Bestseller list for hardcovers. A book of short stories selling well to the general public.
Other writers are taking this risk as well. Emma Donaghue was a finalist for the Man Booker prize for her best-selling novel Room, and recently she released a collection of short stories named Astray. No longer are short stories something authors do until they can get a book deal – now the short stories are book deals in themselves.
Olive Kitteridge is a best-selling “novel in stories” by Elizabeth Strout – a marketing tool that has been popular lately. Is it a collection of short stories with a central character, or is it a novel separated into different stories? Likely, in the interest of a more mainstream readership, the publisher decided to market it as a novel.
For many readers, short stories are a form used only for convenience in classroom settings or slipped into magazines they were already reading, but this is beginning to change. The market is finding more and more value in short stories and the public is beginning to recognize and buy these collections. Is their smaller form easier to finish in our busy-bee lifestyles? Are they better suited to our oft-thought shrinking attention spans? Is it a result of a plethora of talented short story artists coming out of MFA programs? Or perhaps the many different places to find short stories – literary magazines, collections of prize-winners, e-books, online?
The makeup and background of literature is changing, from MFA programs to e-books. It will be interesting to see if novels soon become less ubiquitous and short stories more popular and accessible. In a few more years, will bookstores be selling out of popular short story collections more often than popular novels?
The Story Prize, an annual award for books of short fiction, has recently released its 2011 award winners. Three outstanding short story collections were chosen from among a field of 92 books that 60 different publishers or imprints submitted in 2011. With so many worthy entries this year, The Story Prize included an additional list of seven outstanding contenders and 25 noteworthy mentions.
We would like to congratulate all of our SR contributors who made the list:
Issue 3 contributor Edith Pearlman‘s book Binocular Vision was one of the three award winners.
Sherman Alexie is one funny guy. He is the author of numerous collections of poetry and short stories, adult and young adult novels, and four screenplays, including the 1999 award-winning film Smoke Signals. He was the recipient of the National Book Award prize for Young People’s Literature in 2007, and the PEN/Faulnker award winner for his novel War Dances in 2010. Yet despite his many successes, Sherman Alexie maintains an easy going attitude and a witty, self-deprecating sense of humor. From my own experience seeing him speak at the kick-off of ASU’s Project Humanities last February, I can attest to the fact that Alexie really knows how to work an audience. When he read his poetry, you could hear a pin drop in the auditorium. But most of his speech was riotously funny, and whether he was recalling an anecdote about his daily life or poking fun at ASU’s president Michael Crow, he had the audience crippled with laughter.
What makes Sherman Alexie’s humor so outstanding is his fearless confrontation of difficult subjects. During his speech for Project Humanities he discussed racial stereotypes, sexism, and homophobia, always with his trademark wit. If you visit his website or follow him on Twitter (which I highly recommend), you will see the same thing: his unflinching willingness to speak his mind about social issues. Yet his convictions never overtake his artistic integrity. Instead they connect his work to the day-to-day world and prompt the reader to reconsider their assumptions about privilege, race, and class. Sherman Alexie is truly one of America’s most valuable writers, and we are very pleased to publish his work in Issue 8 of Superstition Review.
On November 8th the Superstition Review Reading Series will feature Melissa Pritchard at Arizona State University’s Tempe Campus. Her reading will take place at 7 p.m. in the Memorial Union’s Pima Auditorium. Pritchard has published several books such as Phoenix: A Novel, Late Bloomer and Devotedly, Virginia: The Life of Virginia Galvin Piper. She has also published her essays Finding Ashton and A Woman’s Garden, Sown in Blood in O, The Oprah Magazine, and The Collagist 4, respectively. I had the opportunity to discuss the upcoming reading and Pritchard’s latest novel The Odditorium.
Superstition Review: How is The Odditorium different from your other works?
Melissa Pritchard: The Odditorium is a collection of seven stories and a novella. Most are based on unusual or enigmatic historical figures, all look at the ways architecture exerts subtle or unsubtle pressures on human consciousness. So they are different in those ways from most of my previous stories. More than half of them do not approach narrative in a traditional or conventional way. I experiment in one story, “Watanya Cicilia,” with a pastiche of historical documents, songs, research and fiction, contrasting the Wild West Show and the real, genocidal story of the West. “The Hauser Variations,” based on the life of Kaspar Hauser, a German boy kept in an underground dungeon throughout his childhood and then mysteriously released into a second tragic fate, is based, in terms of narrative strategy, on Bach’s Goldberg Variations. In another story, “Patricide,” two sisters meet in a haunted hotel in Richmond, Virginia, its courtyard said to be a place where Edgar Allen Poe once played as a child. In this hotel, one of the sisters goes mad. So I was less interested in the traditional structure of plot and expected emotional release than in ethics, history, architecture and the effects of these upon both historically based and purely imagined characters.
SR: What has in been like working with Bellevue Literary Press?
MP: We are in the earliest phases; I accepted their offer to publish The Odditorium in January, 2012, and had a lengthy phone conversation with the publisher, Erika Goldman. I was so impressed with her aesthetic understanding of the collection, her excitement over the departures I had taken in terms of subject and form, I became convinced this was the proper home for these pieces. The BLP website is terrific, too, as is their history with Bellevue Hospital and New York University’s Medical Center. They publish elegant books at the nexus of art, science and medicine, and only publish two fiction titles a year. One of this year’s fiction titles, Tinkers, by Paul Harding, won the 2010 Pulitzer Prize, resulting in a flurry of attention for the press, with articles and interviews in The New York Times, NPR, The Wall Street Journal, and other media venues. It’s a tiny press operating out of Bellevue Hospital, and they do terrific work. I come from a family of surgeons, doctors and nurses, and have always been fascinated by science, medicine and the history of medicine, so this could not be a better place for this book, as a number of the stories deal with medical histories, issues and questions.
SR: How has your time at ASU influenced your writing?
MP: Because my time to write is limited, I have to be disciplined. Sometimes I find it quite difficult, having time and energy to both write and teach. A fragile balance at best. On the other hand, teaching keeps me awake to current trends in literature, to remaining relevant to students year after year, and I am blessed to work with some incredibly gifted students, both graduates and undergraduates. I always say my students teach me in equal proportion to what I teach them. At least I feel that. Also, ASU has always been tremendously supportive of my outside work–traveling for research, traveling to conferences, traveling for reportage or for humanitarian work, which I also do. I am extremely grateful for the university’s support.
SR: What are you most looking forward to as the Superstition Review reading draws near?
MP: I have a background in theater, in acting, so I always love reading my work aloud in a public setting…for me, it is as close to performance as I come these days. I love an audience and I love hearing the piece I’ve chosen come alive in the room, seeing the reactions of the listeners, answering questions afterwards. It is truly a wonderful exchange. This past summer at The Glen, a writing workshop in Santa Fe, New Mexico, part of Seattle Pacific University’s MFA Program, I read my collection’s title story, “The Odditorium,” to a full house. It is a comic piece about Robert Ripley of Believe It or Not fame, and other audiences have responded with laughter and lively commentary afterwards. This audience was dead silent. The room was dark, I couldn’t see anyone. I kept reading, on and on, by the little glow from the podium light. Afterwards, no one even asked questions! I was horrified, sure I had failed, sure the story had been a failure…I wanted to crawl under a carpet had there been one. What I found out later, was that the story had gone over so well, people couldn’t react, they went silent–stunned. I won’t repeat the praises I later heard, but then I became overwhelmed the other direction–was my story really that good? So one never knows, and one always doubts. Also, I’m always a little nervous before a reading, hoping it goes well, that I don’t disappoint people who made the time and effort to come to my reading when there are dozens of other things for them to do….I am also always scared no one will show up, and thrilled to pieces when they do. Finally, I’m looking forward to meeting all the staff and interns at Superstition Review. They’ve even managed to arrange to have copies of A Public Space #11 mailed from New York to be available for sale on the night of the reading. (I’ll be reading a story, “Ecorche, The Flayed Man,” from that issue.)
SR: What are you currently working on creatively?
MP: I’m in between three pieces right now…a non-fiction piece about my miniature dachshund, Simon, a speech about Sr. Airman Ashton Goodman and the Afghan Women’s Writing Project that I will be giving at the Air Force Institute of Technology in December, and a novella set in 19th century Florence, Italy.
SR: What advice would you give to an aspiring author?
MP: Read voraciously. Read the best work you can find. Read what interests you. Be observant. Practice empathy and compassion. Know that what you write ultimately reflects who you are. Write every day, even if only for an hour and be humble in your practice while aspiring to greatness. Be gentle with yourself, and always reward yourself in some small way after a writing session. Leave the writing at a place where you are eager to return the next day.