Stories that lingered

Prompted by a question on Facebook, this is a list of short stories which have lingered, i.e. which occur to me off the top of my head. They aren’t value judgements, in fact I am certain there are stories that don’t occur to me because they fit so perfectly into the whole of their collection or anthology. But they’ve stuck, and that probably says more about me than them.

  • Kelly Link’s “Magic for Beginners” (in the book of the same title, but also online here) because it was wonderfully strange and folded and caught something true and should have been real.
  • Dirk Flinthart’s “The Ballad of Farther-on-Jones” (in Striking Fire), because it was lyrical and hopeful and contained all it needed to.
  • Shaun Tan’s “No Other Country” (in Tales from Outer Suburbia), because it, like the whole book, is achingly gorgeous. The serious undertones of some of its neighbouring stories enhance the jewel-like quality of this one and its art.
  • Karen Joy Fowler’s “The Dark” (in What I Didn’t See – the paperback has a really nice cover;), because it keeps inserting itself into my memory of other collections, and because terrible things happen but people do good things too.
  • M R James’ “The Diary of Mr Poynter” because of one particular moment of the mundane becoming unsettled. Almost all his ghost stories do this but this one was particularly low-key. And I like the design element in the plot.
  • Dorothy Sayers’ “The Haunted Policeman” (in Striding Folly, but I read it first in the Folio Society’s Crime Stories from the Strand) because it is a miniature painting, and a lovely little puzzle. It was also my first introduction to Peter and Harriet.
  • Henry Lawson’s “The Loaded Dog” (warning for some animal deaths) and/or “We Called Him “Allie” for Short, because of Lawson’s laid-back, tongue-in-cheek tone and, in the case of “The Loaded Dog”, the rolling, rollicking, dangerous inevitability of the plot.
  • Angela Slatter’s “The Badger Bride” (in The Bitterwood Bible – and by the way, the limited edition hardbacks of this are nearly sold out) because it is a small, perfectly formed legend curled into an angle of the interlocked stories of the collection.
  • E Nesbit’s “Melisande, or: Long and Short Division“, because of the knock-on effect of the plot, and the charm, and there being no real villain as such except for consequences (not unusual in E Nesbit’s stories), and because the silliness is played out soberly. Also maths.

Cover Art: Karen Joy Fowler – “What I Didn’t See”

Two new covers to show you! One… not so new and one not quite out yet. But soon!

The first was the cover for Small Beer Press‘ paperback release of Karen Joy Fowler‘s collection What I Didn’t See. I remember being dragged along to see The Jane Austen Bookclub and realising abruptly that into what had boded to be a very pink movie was slipped a suspiciously accurate side-glimpse of a science fiction convention, a discussion of famous women science fiction authors, and a scene which prompted my Grisham-reading sister to ask if I had any Le Guin novels. Fowler, I realised, was one of us.

When I was asked to do this cover I was hopping around the house with delight. It is a superb collection. Fairytales of holiday communities, tragic conspiracies of scientific expeditions, tales which might be just a story and might be – might be – something beyond the delusion of the characters. My favourite story, The Dark, I love so much that I mentally insert it into all collections of stories that I like and have to trace it back to this collection by the flea I drew for the cover. It is slow, mysterious, hair-raising – the best and saddest of unsolved-mysteries.

Here are the first sketches – working out general direction and technique (the examples on the right include ink and cut-paper figures):

Fowler Cover - initial sketches

I had intended to do a cut-out design for the cover, but Small Beer Press were happy with the sketch as it was in this more detailed layout-test:

Fowler Cover - layouts

I tried a few different colourways:

Fowler Cover - colour variants

In the end we settled for the original, simple black-and-white design.

Final cover art - Fowler

And then the book arrived and – it was printed with gloss spots and embossing in all black. So, so hard to get a decent photo of, and absolutely gorgeous, like something out of a gothic candy store. My first embossed cover! And a very excellent book.

Final covers - Fowler and Olondria

There too is the hard copy of Sofia Samatar‘s novel A Stranger in Olondria, the cover process of which I posted about here.