Jack The Scribbler

The Graywolf Annual: Short stories
Edited by Scott Walker
A Book Review

Of the twelve short stories in this collection — the very first in the Graywolf Annual series, published in 1985 — only five make the cut; that is, less than half of the collected pieces provide a clear, moving epiphany that generally characterize good fiction.
Yes, the anthology barely makes the grade.
But that’s if you’re looking at it from the bean counter’s perspective.
Overall, the anthology’s not too bad.
In an age of memes, tweets, and status updates, five pieces in this volume provide examples of fiction’s raw, unmediated power, compensating for the shortcomings of the other seven (two of which, by the way, have been previously unpublished).
In no order of importance, these five works are Andre Dubus’ After the Game, Richard Ford’s Winterkill, Elizabeth Cox’s A Sounding Brass, Tobias Wolff’s Our Story Begins, and Bobbie Ann Mason’s Hunktown.
Those familiar with Dubus will find After the Game hardly a departure from his easy, conversational approach to storytelling.
Which is not necessarily a bad thing.
“I wasn’t in the clubhouse when Joaquin Quintana went crazy,” so goes Dubus’ first line.
Direct and honest, the story provides a warm familiarity similar to slipping into an old shirt or an old shoe.
Ford’s Winterkill, Cox’s A Sounding Brass, and Mason’s Hunktown all feature haunting endings, their protagonists lying in wait for tectonic shifts in their damaged, incomplete lives.
Winterkill’s Les Snow preserves what remains of his personal space by slipping outside unobstrusively to get some time to fish by himself to avoid being noticed by his friends.
A Sounding Brass’s Ginny embraces the challenge of raising her two kids immediately after her husband is killed in a freak hunting accident.
Hunktown’s Joann takes it all in stride, despite what appears to be her second husband’s attempt to move to the city and form his own band and her divorced daughter’s carelessness in managing her own life.
Wolff’s Our Story Begins is no less impressive although factual errors slightly disrupt the narrative action.
Charlie, the main character, eavesdrops on three coffehouse patrons who talk about a priest who brings Miguel Lopez de Constanza, a Filipino, into San Francisco.
The whole story is implicitly premised on the fact that Filipinos living in 1980s Philippines speak Spanish.
“Let’s say that for some reason, you, Truman, find yourself in Manila dead broke. You don’t know anybody, you don’t understand anything anyone says, and you wind up in a hotel where people are sticking needles into themselves and nodding out on the stairs and setting their rooms on fire all the time. How much Spanish are you going to learn living like that?”
Too bad — cursory research could have easily corrected this wrong impression, even during that time when the internet was a pipe dream.
Fortunately, the oversight doesn’t prove to be too distracting. Wolff’s piece is still one of the best in the collection.