Through prose that is concise, confident, and empathetic, Malie Meloy evokes what David Foster Wallace called the “plain old untrendy human troubles and emotions” of life, and treats them with “reverence and conviction.” Joshua Bodwell talked with Meloy about her newest collection, Both Ways Is the Only Way I Want It, the craft of writing short fiction, and the art of finding the right voice for a story.
Spring is wet in Maine. The rivers swell and roadways succumb. Driveways turn to mud pits and basements flood. We take it all in stride, because living here is worth such minor irritations.
But this past spring, the rain seemed ceaseless. The normally bearable soggy months stretched into June and stole the beginning of summer from us. So, expecting Mainers to sit inside a bookstore on the first clear, balmy evening in early July seemed like too much to ask. Even the author Ron Currie, Jr., a Maine native himself, seemed hesitant to go inside Portland’s Longfellow Books for a reading and signing of his new novel Everything Matters! (Viking, 2009).
On September 20th, at a ceremony in Cork, Ireland, the 34-year-old author Simon Van Booy collected the Frank O’Connor International Short Story Award and a 35, 000 Euro check for his collection, Love Beings in Winter (Harper Perennial, 2009). When last year’s O’Connor Award was given to Jhumpa Lahiri’s Unaccustomed Earth, judges did away with even selecting a shortlist. This year, however, Van Booy one of six writers that made up an impressive, international shortlist: An Elegy for Easterly by Petina Gappah (Zimbabwe); Singularity by Charlotte Grimshaw (New Zealand); Ripples and other Stories by Shih-Li Kow (Malaysia); The Pleasant Light […]
