There was a great article in the Guardian last week about the short story form. Writer Sue Hall describes how:
Short stories are strange, almost impossible language systems. They are acts of compression, without seeming to compress. They concentrate, without clotting. They provide a focused view of an expanse, and, in the best examples, the weight of the exterior world, a universe even, can be seen or sensed outside the narrative frame. (Guardian Review section, 20 Aug 2016)
It is also, she insists in a collection she has edited with Peter Hobbs, a perfect form for exploring creation and endings, sex and death. This is particularly true of one of the most famous short stories, ‘The Dead’ by James Joyce (in Dubliners). Here, while in the throes of desire for his wife, the middle-aged Gabriel has an epiphany (one of the features of the modernist short story) that his wife has always loved a lover from her youth in the west of Ireland who was willing to die for her (and did). As Hall says; sex and death, creation and endings. Joyce’s use of free, indirect address is mesmerising as it transports the reader from Gabriel’s very personal erotic and emotional disappointment to the landscape of the whole of Ireland (through the motif of snow, which inhabits much of the story), and then to the history of the resistance of the Irish people to British rule.
Across the teaching of English and Creative Writing we consider the short story in some depth. The collection of short stories connected by character and event has been employed by American modernists such as Sherwood Anderson (in the masterful and influential Winesburg, Ohio) and Faulkner (‘The Bear’ in Go Down, Moses is one of the most complete pieces of writing you can hope to read. He just makes you weep with the beauty of the language. Here, the contradictions of the American South are compressed into the incestuous relationships of a handful of its inhabitants), to the Native American literature of Sherman Alexie (in The Lone Ranger and Tonto Fistfight in Heaven, 500 years of conflict and oppression are compressed into the image of a Native American standing in front of the reservation store beer cooler).