Blog Question #7:
What makes a particular short story a classic? Why does a story stand the "test of time?" I think the answer lies in a number of reasons. First, I believe that a short story must have an enduring theme, human and subjective. The theme should touch not only the mind, but especially the heart of the reader. In "Cathedral" by Raymond Carver, its theme of "Dislocation versus Location" is explored using its three main characters: Husband (first-person narrator), Wife, and Robert (blind guest). Carver twists the usual perceptions and brings us into the marriage of two nameless, "sightless" wandering characters that are brought finally into location (at least momentarily) by the "sighted" blind man. Carver makes us feel for these two dislocated people. They wound our own selves because they bring back images of our own dislocation memories. The story touches our souls with its theme.
Second, I believe a classic story must be written with well-chosen words that stand with purpose on the page. The author's "voice" must be present in the piece, no matter what perspective point of view is chosen. The author must present his/her theme with power and skill. Carver paints his characters with a brush of understanding and compassion. without "letting them off the hook." His deft strokes allow the reader to almost touch, smell, and visualize the characters.
The reader feels present in the story.
Wednesday, October 1, 2014
Blog Question #6:
The techniques that a filmmaker uses can be similar to those of a short story writer in that both of these artists use presentations by a narrator. The filmmaker uses the camera. It can act as a subjective or objective narrator depending on the filmmaker's craft for different shots. The short story writer presents his/her story using a first, second, or third person narrator. It's the writers choice plus his/her "voice" that decides the perspective.
In the story "Occurrence at Owl Creek" Bierce begins his story with a neutral omniscience (third person point of view) that objectively relates the scene in front of the reader. After the scene is set, the writer uses selective omniscience to place the reader into Farquhar's mind. Finally, the reader is brought into the reality of situation with neutral omniscience. The filmmaker's "Occurrence at Owl Creek" that we viewed used his skill and camera to place the reader within the story using camera angles, long shots to set the scene as a third-person neutral omniscence point of view and a memorable closeup of Farquhar's eyes to place the viewer into his mind.
As I viewed the film, I found myself understanding the story better. The filmmaker did the "work" that I as the reader lacked. "Occurence at Owl Creek" became a 'reality' instead of words on paper fiction.
The techniques that a filmmaker uses can be similar to those of a short story writer in that both of these artists use presentations by a narrator. The filmmaker uses the camera. It can act as a subjective or objective narrator depending on the filmmaker's craft for different shots. The short story writer presents his/her story using a first, second, or third person narrator. It's the writers choice plus his/her "voice" that decides the perspective.
In the story "Occurrence at Owl Creek" Bierce begins his story with a neutral omniscience (third person point of view) that objectively relates the scene in front of the reader. After the scene is set, the writer uses selective omniscience to place the reader into Farquhar's mind. Finally, the reader is brought into the reality of situation with neutral omniscience. The filmmaker's "Occurrence at Owl Creek" that we viewed used his skill and camera to place the reader within the story using camera angles, long shots to set the scene as a third-person neutral omniscence point of view and a memorable closeup of Farquhar's eyes to place the viewer into his mind.
As I viewed the film, I found myself understanding the story better. The filmmaker did the "work" that I as the reader lacked. "Occurence at Owl Creek" became a 'reality' instead of words on paper fiction.
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