Short stories! Back in late June I ran across a collection of them by Kelly Link and was struck full in the face with a reminder of my love for the genre. Link's collection Stranger Things Happen is reportedly what Wikipedia contributors label slipstream fiction. I prefer the label "speculative fiction," which might be imprecise but at least isn't as outright douchey as "slipstream." Tomato, tomahto.
Link writes surreal little fairy tales—stories of the afterlife, pretty blonde space invaders, little girls with the power to disappear, spectral dogs, and much else. Oh, but now I'm making her writing sound less uniquely fantastical than it is. Some of it reads like a fever dream. Jonathan Lethem blurbed this book with great enthusiasm. Link clearly has a wonderful imagination and a gift for plainspoken perversion, traits that made Stranger Things Happen a pleasant summer read for this indoor-only weirdo.
I followed her contemporary takes on the age-old form with what I trusted would be a genuine classic of Victorian horror, The King in Yellow, by Robert William Chambers. It features ten stories that I was told all concerned madness and woe. The description says that the stories are linked by a fictional play entitled (what else?) The King in Yellow. I was drawn to this book as much for its purported creepiness as for its renown. Horror icon H.P. Lovecraft said it "really achieves notable heights of cosmic fear." Others obviously agree; The King in Yellow has been referenced in books, on TV, and in songs, videogames, and movies for 130 years.
It does start strongly, with stories of horror, dread, and overall unease, but suddenly lurches, around the halfway point, into four tedious, unrelated tales of French romance. I kept waiting for a connective thread to reveal itself. Neither the fictional play within the novel nor even the color yellow receives additional mention after "The Street of Four Winds." All of this makes me want to ask, "What the hell happened, Chambers?"
Such a promising start. Alas! The King in Yellow: two stars do not recommend.
My introduction to the humorist David Sedaris came from NPR's This American Life. Afterward, I was happy to find his occasional contributions to The New Yorker, after I took a subscription to the magazine. His very funny collection Me Talk Pretty One Day had come out a few years before that, but I didn't read it until this summer. It's pure early Sedaris. We might even go so far as to call it his Temple of Aphaia (a stately marvel of Greece's Early Classical period), except, you know, it's a book not a building, and makes repeated references to taxidermy and methamphetamine use. Hilarious!
No pun intended, but I found Sitting Inside: Buddhist Practice in America's Prisons, by Kobai Scott Whitney, to be an enlightening read. Whitney served a six-month sentence for drug charges, where his previously halfhearted Zen practice blossomed. He's now a spiritual leader in the Tien An tradition. In its array of related topics, his book breaks down the ways that Buddhism works (and sometimes doesn't) in prison's quasi-monastic setting. As Whitney writes in Chapter One, "Discipline, in its external form, is imposed by the very structure of prison, but sitting still in silence is so out of keeping with the chaotic, noisy atmosphere of prison that it takes great courage and cleverness to practice at all."
Whitney covers the history of Buddhism behind bars, from the earliest days of Buddhist prison outreach to the Constitutional battles that practitioners had to win before they were allowed to meditate together. I had no idea, before I read Sitting Inside, that it was a Buddhist whose lawsuit (Cruz v. Beto, in 1977) went to the US Supreme Court and opened the gates to prisoners' religious freedom. This book is intended for imprisoned practitioners, for the volunteers who visit them to teach and assist, and for readers curious about the great effort that prison practice requires.
Shunryu Suzuki's book Branching Streams Flow in the Darkness explores Buddhist practice via the Sandokai, a seventh-century work by Chinese poet Shitou Xiqian, that's become a tool of Zen in the modern world. A lot of contemporary practitioners recite its forty-four lines to remind themselves of the ultimate nature of reality. Suzuki was instrumental in bringing Buddhism (specifically, Zen) to the United States. Branching Streams Flow in the Darkness represents a series of talks he gave in 1970, which his students preserved in transcripts. He speaks digressively and incisively, in ways that are silly and profound. As far as I can tell, it's Zen, through and through—but what do I know? That's why it's called "practice."
Acknowledging ignorance in spiritual matters is all well and good, but feeling a cleverness deficit in other areas can be troubling. I experience mine when confronted with the writing of William Shakespeare. Like most people, I first ran afoul of the Bard's poetry in high school. I don't even remember the play, only that I gave up pretty quickly on his opaque Elizabethan elocution. When my book club elected A Midsummer Night's Dream to be our midsummer read, my first thought was, Well, shit.
I read it, though. We all did. Together. Aloud.
Specifically, I recited the parts of Bottom and Puck (aka Robin Goodfellow), and of the fairy queen, Titania—in a Monty Python–like lady voice. Keith read the lover á la Scarlett O'Hara, and Danny did silly voices for the fairies the whole way through. No one else hammed it up as much as the three of us did, but everyone managed to have fun with it. Without our silliness to guide me, I doubt I'd have been able to actually follow the play's dialogue and plot, as four interchangeable lovers run afoul of two feuding fairies and proceed to caper around the stage in demonstration of how "the course of true love never did run smooth."
How have I changed in the last thirty-odd years? Only in all ways. I still feel no particular desire to engage with Shakespearean drama on the page, but at least I have an open mind about it. I didn't even dissent when the club voted to start reading Titus Andronicus, come October.
Most recently, I read the curious Dana Spiotta novel Innocents and Others, a book about three women whose lives focus on seeing and being seen. It tells their story in somewhat experimental ways, through both traditional third-person narrative and first person "articles" written by the characters. I love this almost mixed-media style in fiction, and Innocents and Others used it to deliver a deeply satisfying convergence of three seemingly disparate narratives. On the strength of this book alone, I might have to venture deeper into Spiotta's work.