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Rise of the short story

The best writing teachers. Fifteen Writers on Writing: The Art and Craft of Fiction. By Eric A. Stanley. The New York Times Book Review.
Oct 11, 2011
Speaking of the worlds of fiction and nonfiction, “There’s no comma in a short story,” Martin Amis told P.J. O’Rourke in 1981, “You can’t say, ‘And Bob liked ice cream.’” It’s an idea that seems to be taken for granted today, but for years scholars have speculated about the then-revolutionary potential of the short story. Most notable in this respect was the 1961 short-story collection Short Stories by J.D. Salinger, a book that looked at the latter part of his career and showed how much of his talent he’d already developed, the gist of which can be read in Jonathan Lethem’s essay “Salinger’s Short Story” in the current issue of Guernica. Almost another half-century later, the pendulum seems to have swung back in the direction of the short story, as seems evidenced in this year’s highly anticipated release of short-story collections by the likes of Alice Munro, Tobias Wolff, Lorrie Moore, and the Nobel Prize winner Raymond Carver. But there’s a reason for that return to the short story, and it’s a good one.

The days of the bright young novelists are over. * “Writing novels of the short story” No longer the domain of drug dealers and novelists, the short story is breaking into the literary mainstream. And with good reason: Short stories: “Simply, they are much more fun.” IN CHARLES CALEK The Short Story: A Manifesto (Avon, 1980) p. 23. Villages as Muse The short story has always been a great deal of fun. That is, it is a perfect example of the second law of the universe of social relationships: Those who can, do, those who can’t, teach
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