Stories We Love: “White Angel,” by Michael Cunningham
“Our participation in the story is much more than simply a reader or an observer”: Keith Lesmeister on Michael Cunningham’s “White Angel.”
“Our participation in the story is much more than simply a reader or an observer”: Keith Lesmeister on Michael Cunningham’s “White Angel.”
“The narrator’s voice is earnest and haunted”: Joshua Bodwell on why he loves Andrew Porter’s “River Dog.”
Joshua Bodwell shares about the lasting impact Tom Perrotta’s “The Weiner Man” has made on him.
“Imagination is not just suspension of disbelief but also a method of investigation, a way of knowing and a means of effecting change.”
RT Both examines how Sam Shepard probes the limits of social unease in times of division.
David Savill on how William Maxwell gets away with breaking the rules in “Over By The River.”
“Once you know you can be kicked out of Eden, it becomes a place of utter dread; you’re constantly waiting, looking over your shoulder, wondering if today will be the day”: Scott Nadelson discusses the dread of paradise.
“Grace Paley shows us one way in which the heretofore old-fashioned, third-person omniscient perspective might be one of contemporary fiction writers’ greatest tools to elicit empathy for characters.”
“Nothing ‘important’ comes at the reader straight in ‘American Express,’ and whenever I try to pinpoint what it is that makes Salter such a distinct writer, this is where I poke around for answers.”
Ben Nadler goes to great lengths to inhabit the setting of Isaac Babel’s “My First Fee.”
