Karin Warnaar

In Fifteen Minutes You Can Say a Lot: Selected fiction by Greville Texidor (Victoria University Press, 2019), 304 pp., $30

There’s a story in this collection of short fiction by Greville Texidor called, simply, ‘Elegy’. That it’s set in an actual country churchyard appeals disproportionately to my sense of humour, as does the story itself, which is an arch observation of the bohemian left in mid-twentieth century New Zealand, with a possible whiff of Glover’s magpies. Another line from Thomas Gray’s poem could be applied to Texidor: the one about the flowers that blush unseen. Texidor’s literary bloom was brief and barely acknowledged at the time, but literature has a lot of one-hit wonders. [Read more…]

Diane Brown

The Father of Octopus Wrestling and Other Small Fictions by Frankie McMillan (Canterbury University Press, 2019), 146pp., $27.99

Reading Frankie McMillan’s The Father of Octopus Wrestling and Other Small Fictions is like taking part in a speed dating evening. You only have five minutes to meet the fifty-five applicants. All are equally fascinating and equally elusive. If only, you think to yourself, I could spend half an hour reading each one, delving deep to find out if any is a wife beater or an alcoholic. 

It was probably a mistake to read this book after rereading Elizabeth Strout’s Olive Kitteridge, and then, Olive Again. At first, I resisted the slickness of McMillan’s small fictions that never allowed such close encounters with character and background. But nothing is more annoying than the reviewer who says ‘Why didn’t the writer write it like this?’ or ‘It would have better if she’d done this.’ There is a world of difference between Stout’s connected short stories set in one small town, and McMillan’s fictions, which roam from unspecified locations to Rotorua, Lake Bunyonyi, Ireland, Amsterdam, Ukraine and a myriad of other places.  [Read more…]

Michelle Elvy

Selected Stories by Vincent O’Sullivan (Victoria University Press, 2019), 592 pp., $40

Grove’s face wasn’t injured, as far as you could tell, but it curved in on one side, so that his left temple and jaw were at least an inch further out than his left cheek. Whether he talked or smiled, his lips on that side stayed straight and together, and the right side of his face moved by itself. And there were two deep lines that ran from beside his nostrils almost to the end of his chin. He wasn’t scarred or hideous or funny. You didn’t want to laugh at his face and you didn’t want to say you felt sorry for him. But I can’t remember being in any company with him when people didn’t tend to look at him rather than at anyone else. They wouldn’t let on, but they were absorbed by his dent.

It’s the best possible opening for this collection, and perhaps the best way to frame a review of Vincent O’Sullivan’s Selected Stories. The opening paragraph of ‘Grove’ – a story taken from O’Sullivan’s 1978 collection, The Boy, The Bridge, The River – sets the tone and progression of this collection, which spans nearly forty years of short stories. It also tells us to pay attention to the obvious and not-so-obvious details of the characters we encounter – that each individual deserves a second, or third, or many-times-more look. Finally, this opening paragraph suggests that looking at characters might mean, also, looking closely at how they look at each other, how they are viewed by other characters. The art of observation highlights our flaws, our idiosyncrasies – also our connections, our warmth. We’re all in this story together, O’Sullivan seems to say.  [Read more…]