"Small Resistors 5" is an anthology on the current story published in 2010 by the editorial pages of foam under the direction of Andrew Neuman. I think both this anthology, as its complementary in many respects "Siglo XXI. The new names of the current English tale" are essential for any fan of the story. This reading of course, there are other, thanks to the discovery of authors and styles. In the meantime, Cristina Grande wins positions in my authors "to read". And some I did not like anything, but to judge an author by a single story seems too bold, and I reserve my suspicions.
addition to the stories chosen to give a vision of a heterogeneous production around, sometimes controversial, gender of the story, the book includes a final questionnaire in which the authors anthologized respond to several questions about literature and gender. In this questionnaire, many authors emphasize something that had already been detected: the rejection from critics and the authors themselves are to the stories with surprise ending, what stories are usually called "rounds." As for me, this rejection has shades, I like to realize them. Try to do a classification:
1) Stories in which the end comes a crazy surprise that no progress at any time in the previous text. For example, any deus ex machina or "in the end it was a dream and woke up."
2) Stories in which the end there is a complete data that previous ones and have come forward with what the story ends with the plot.
3) Stories in which the end is revealed that makes something so essential that summarizes the whole story forces the reader to revive him but from a new point of view.
4) stories without any revelation, which are not circular but linear. Say photographed a tiny portion of the flow of a story suggesting the reader the rest.
seems that the current trend is to pursue the final Type 4. In this search, detect the same rogue that already existed and exists in abstract painting and painting pop: I think sometimes pretends to tell what is merely a text written more or less well (in the same way sometimes posing as art things that are not, and obviously, this is my opinion, of course.) The story should be there, no matter how minimal has been targeted, so we can talk about story. As a reader, much discriminate between what I read in this group and what I like, I love and what not, I hate it. That is, I find stark contrasts between the works that was initially ascribed to such end. As a writer, Moreover, I find very difficult to obtain.
Clearly by his rudeness, tales of group 1 are disposable and do not think you have to explain more. Those in Group 2, within which may be correct, not excite me as a reader (and I know that I write many times).
The group 3 are the ones I find most interesting and satisfying my expectations further. Here we speak not of surprise but of revelation. No shock, but the feeling of discovery. This is the kind of story that I aspire to write. I think the group 4, when quality is not merely a variant of this group 3, only the disclosure required by the reader some additional effort needs.
on this in the end, I started reading some time ago a compilation of all the tales of Cristina Peri Rossi and although at first I thought it was fantastic, I started slowly getting tired of the constant surprise (say, type 2.5 ) waiting at the end of each story. I know I will give him a second chance in this book but for now I finally get tired of so many surprises.
And yet, there is a story of Cristina Fernández Cubas, I have as a reference because I love, "The world", without appearing to, belongs to group 3. The revelation is a phrase or a few words, not screams you to flip a line but the revelation is how the story unfolds and how the actions of the characters do to understand more deeply their humanity, their contradictory nature, evolution and whys.
Satisfied my need to realize this round me head, I keep the search against the surprise disclosure but also explore the areas most avant-garde, always so interesting ...
