“No one is either fully good or fully bad in a Gallant story; her characters are more interesting than that, Gallant is neither a moralist nor a polemicist,” explains Jane Urquhart in the introduction to the Penguin paperback edition of this 1988 collection of stories. In the opening story,
In which there is talk of the slim stories which have travelled with me within the city. While bulkier volumes stayed home. Like Robertson Davies' Murther and Walking Spirits (1991). And Nazanine Hozar's Aria (2019). These are awkward travelling companions: thick and heavy But some of the skinnies in
At first glance, it seems as though who is more – or less – Canadian matters in this story. Because I am Canadian, I latch on to the idea of whether Douglas’ father is more “reticent” than his mother, whether he is “cautious and single-minded”, whether I myself exhibit any
Readers of Mavis Gallant’s early stories have endured a lot of unhappy spouses and unhappy children. In apartments and on beaches, in summer houses and on holiday, It’s hard enough; in confined quarters, it is stressful indeed. In “The Rejection” we have a divorced father and his daughter in
In “Madeline’s Birthday”, Madeline was sent to the Tracy family’s summer home: her divorced parents are elsewhere, living Madeline-free lives. “The Wedding Ring” tells a similar story, but from the daughter’s perspective: a first-person chronicle of the only child of a happily-divorced couple. The story begins quietly, as though
