‘It’s worth turning aside here, from what the story is about, to how it is written … Morrison nudging his narrator into our consciousness, subtly turning a third person narrative into a first person one…’ MIKE SMITH looks at the gentle humour and softer voice of Arthur Morrison in ‘Charlwood with a Number’.
‘I am intrigued by the areas in which the ideas behind works of art reflect those behind short stories; the less tangible, psychological links – the things that light up my subconscious when I’m reading a story or looking at a work of art…’ DAVID FRANKEL explores the overlap between art and short fiction.
C.D. ROSE discovers the writing of Bulgarian author Georgi Gospodinov for the first time: ‘It is one of the most perfect stories I have ever read, doing exactly what a short story can do best, and what only a short story can do: encapsulate lifetimes in minutes…’
PODCAST: In the first instalment of this series of Short Story Masterclass podcasts, JAC CATTANEO talks with award winning author JANE GARDAM about the never-ending nature of the short story form, use of the uncanny, and Death on a Yamaha…
STEPHEN HARGADON both profiles the writing life of Julian Maclaren-Ross and recommends his storytelling voice: ‘He is slangy and colloquial, there is much dialogue. This is true. But it is not the whole of his immense gift … His stories are full of crisp, rhythmic exchanges…’
‘Elizabeth Bowen’s commitment to the short story was extraordinary. Best known for her novels, she has said, according to Lee, that she would give up any of these for her short stories…’ AIMEE GASSTON draws us into the life and writing of Elizabeth Bowen.
K.S. DEARSLEY on the short stories of Dorothy Richardson: ‘We are the narrators of our own stories. The tales we tell ourselves about who we are construct our identity, they are how we make sense of the world…’
NOW CLOSED: with a £500 first prize. You have until Sunday 06 March, 11:59pm (GMT) to get your feature essays in for the 2015 THRESHOLDS International Short Fiction Feature Writing Competition…
SHARON TELFER demonstrates how the world of a short story can be just as absorbing as that of a novel, through William Faulkner’s ‘Dry September’: ‘…there it was, a world complete in itself, at once believable yet unsettlingly strange, resonating long after the book is closed…’
