Of course the various stories we've read include numerous binaries and are relatable to both Benjamin's theory of mutual recognition and Nabakov's definition of a good writer. These connections have sparked great conversations both on our blog and in class. I, however, would like to shortly address another common theme that seems to extend into the majority of well-written short stories: a lack of happy endings. On one end of the spectrum lies a sort of strange, uncomfortable residue seen in stories like "Victory Lap" or "The Secret Woman", where the ending is ambiguously resolved in a not unhappy fashion but still leaves readers a little stuck over whether they can feel good about the way they story left off. On the other end lie the stories in which the conclusion casts a darkness over the readers, often utilizing death ("Old Woman Magoun") or confounding dysfunction ("The Swimmer"). But on a spectrum stretching from ambiguously okay to 'question-the-sanity-of-an-author-who-dreamed-up-such-depravity' horrifying, where is the happy ending? I know that as someone disposed more towards optimism and growing up
under Thomas the Tank Engine mentality, I wouldn't mind a happy ending
here or there. So where is the resolution that makes us feel good about ourselves?
When I think about it analytically, however, a happy ending sort of defeats the purpose of a short story. Since short stories are short, they have to quickly manage to provide two things: a quick sense of familiarity with the setting and characters as well as a point that will make the reader understand its significance and remember the story after devoting only twenty minutes to it. As Nabakov would point out (hey, he managed to sneak his way into this post after all): good readers don't relate to characters. Readers who want to simply read about what they know, readers who simply want to feel good about themselves, might as well write and read their own work, not even bothering with the works of 'good writers'. It takes an aspect of Nabakov's good writing - the creation of a new world and a new experience - to create an actual impact for any good readers. And a happy ending isn't going to foster in readers a sense of change or the chance to take a step back and see through a different lens. Only an ending that makes us ponder, an ending that unsettles us, an ending that won't lull us into contentment, can make a short story powerful.
I think this is a really cool way of looking at it. I agree that such short stories have a smaller capacity to enchant the reader because of simply how short they are. I agree with you that what makes these short stories so powerful is their ability to captivate the reader with a small anecdote. Part of that enchantment definitely stems from the writer's ability to leave the reader unsettled and thinking about the ending. Such a definite ending that leaves the reader without question or thought afterwards makes for a much more boring read.
ReplyDeleteI like that you addressed the rather dark trend in short story endings. I know I've found myself wondering why so many of the short stories that we've read have left me sad, unsettled, or utterly horrified and screaming at the book (i.e. "Escape from Spiderheard"). I don't think that happy endings are necessarily less powerful than tragic ones, but I do agree that endings that leave the reader pondering are especially powerful. I know I saw a post or two last week debating whether the ending of "Escape from Spiderhead" is a happy one or not. Several of the endings of the short stories we've read, like "Escape from Spiderhead," can be seen as happy and tragic. For instance, "Old Woman Magoun" ends sadly and disturbingly in the sense that Lily dies, but victoriously for Magoun because she prevents Nelson Barry from taking Lily out of her control. While unsettling, ambiguous endings like the one of "Old Woman Magoun" prompt the reader to question the meaning and nature of the story, which, as you said, makes a short story very powerful.
ReplyDeleteI noticed this as well that the stories seemed to end fairly abruptly, or at least lacking a "nice bow" to wrap the story up. It's troubling initially, which is what is so powerful about it, like you said. Fiona makes a good point to say that happy endings aren't necessarily less powerful, but I believe they rather contribute to the societal expectation of a finished story. The reason the troubled endings have sparked such an interest in our minds is because it's different. Straying from societal norms forces us to question the story for we are no longer comfortable. I think it's good these authors have challenged us to view the stories from an uncomfortable point of view, so that we might grow as readers.
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