Aiyiyi, I have no good reason for this, because all that I’ve done is flip through the next story, to see if it would be as long as Tolstoy’s “Master and Man”—whether I should expect to read fifty pages for this month’s “short” story. It’s not—it’s half the length—but
In reading this fifty-page-long story, I followed the instructions that Saunders set out for us in the first story, curious to see whether the process would prove valuable. Saunders, himself, took a unique approach with the first of the seven stories he considers herein; he offered commentary after each
If I were to witness a murder, I figure I’d be like that woman in the Swedish drama “The Breakthrough” who sees the perpetrator straight on but, later, cannot recall a single facial feature. So Saunders’ point about the previous story, about Turgenev’s physical descriptions in “The Singers”, didn’t
Mavis Gallant is sitting “in her apartment on Rue Jean Ferrandi” when, in a “voice gentle yet commanding”, she says “There are two kinds of writers to me, the Tolstoy and the Dostoevsky.” With this Russian project underway, I sat up a little straighter. “And they’re both extraordinary,” she
We’re in a seven-month-long exploration of George Saunders’ A Swim in a Pond in the Rain, with the second story: Turgenev’s “The Singers” (1852), first published in his second volume of A Sportsman’s Sketches. Since we last “met”, I’ve been running into George Saunders regularly. He blurbed the insert
