Stories We Love: “Off,” by Aimee Bender
Kent Kosack on the complexities of motivation and action in Aimee Bender’s “Off.”
Kent Kosack on the complexities of motivation and action in Aimee Bender’s “Off.”
Kent Kosack on retrospective narration in J.D. Salinger’s “De Daumier-Smith’s Blue Period.”
“His narrator’s point of view evolves with the story, revealing this evolution through how he sees his setting”: Kent Kosack on Tobias Wolff’s subtle gem “Powder.”
“The truth of the story somehow comforts”: Kent Kosack on Lauren Groff’s “Ghosts and Empties.”
“What I love is the defamiliarization.” Kent Kosack appreciates the aesthetic openness of Catherine Lacey’s short story “The Healing Center.”
“That moment when we realize our parents are people, regular people, with flaws and separate lives we have no access to. Brought home, made palpable for the reader, in that little clattering spoon”: Kent Kosack on Lucia Berlin’s coming-of-age story “Itinerary.”
“And yet, it works. Not only does it work, it’s essential to the story. The form is the story.” Kent Kosack takes a look at Bernard Malamud’s puzzling POV-shifter, “My Son the Murderer.”
“How the writer views the world, their unique angle of vision, is what can draw us in by inviting us to briefly leave behind our familiar vantage point.” Kent Kosack on the power of observation in Dorthe Nors’s “The Heron.”
