A new short piece of mine just went up at Flash Fiction Magazine. I would love it if you read it here.
I read two pieces I really liked today, one by bart plantenga and one by Sue Powers. I don’t know either of these writers (I don’t even know them on twitter) and had not read their work before, but I think these are both excellent. They’re short reads, but exactly enough.
bart plantenga: The Beer Coaster Haiku 1 at The Daily Drunk.
Sue Powers: Grace at Burningwood Literary Journal.
Check out the beautiful midway of poetry, prose, and hybrid work isaura ren and the editorial and artistic team at perhappened have created with their launch issue!
I am very fortunate to have a short story, “Clouds“, included. This story means a lot to me personally and I’m so glad it found a perfect home.
I am thrilled to have a new piece of flash fiction up at Schuylkill Valley Journal today. Many thanks to Rob Kaniuk and the rest of the staff!
Over the years, many people have ended up at this blog because of some posts on dirty realism. A definition of the style from Wikipedia, circa 2009:
“Dirty Realism is a North American literary movement born in the 1970s-80s in which the narrative is stripped down to its fundamental features.
This movement is a derivation from minimalism. As minimalism, dirty realism is characterized by an economy with words and a focus on surface description. Authors working within the genre tend to eschew adverbs and prefer allowing context to dictate meaning. The characters in minimalist stories and novels tend to be unexceptional.
Dirty realism authors include the movement “godfather” Charles Bukowski (1920-1994), as well as the short story writers Raymond Carver (1938-1988), Tobias Wolff (1945), Richard Ford (1944), Frederick Barthelme, and Pedro Juan Gutiérrez (1950).”
My favorite line from this description is: “The characters in minimalist stories and novels tend to be unexceptional.”
When I was thinking about this a dozen years ago, flash fiction was not as well-established across the literary internet as it is today. The flash fiction I was writing was almost exclusively in the dirty realist voice. In my way of thinking, the stories weren’t really about what happens in them as much as what the actions (or lack of) and the urgency of shorter forms evoke. Compulsions of style and length dovetailed by default. For me, realism was (and maybe is) the natural voice of very short fiction, and very short fiction is a natural expression of the realist voice.
These days, I think there’s much more to it. But there’s still a kernel of truth to these connections, at least for me and for my shorter work. The trick is not to be too clever or too pithy, and sometimes that’s much harder than it sounds.
Another early piece. This was published at elimae when Cooper Renner was the editor. It was a very good journal. This story is 100 words long.
Thaddeus, age 3, set the Evensong in shallow water. Small waves rose and fell, and, retreating, carried Thad’s small ship further from the shore. Squealing and on pigeon toes Thaddeus retrieved it, and, safely back, he cast the tiny schooner headlong into the sea. His father’s strides were long and easy and for a moment Thad was sorry for the rival ocean and the fight he’d picked. His father bent low and pressed Thad to his chest and from tall grass on the bluffs above, they watched a red sun sink behind the green and Thad said, “Bring it back.”