Reading these three authors in such a short time period illuminates the effects of different stylistic choices. Raymond Carver's stories typically describe a short time period and may not even have a beginning middle and end. His entire story may span the course of an afternoon or a day. One of his more well known stories, "What we talk about when we talk about love," centers around a conversation four people have during dinner. Over the course of dinner, they reveal their romantic histories, as well as their current attitudes towards love. The action takes place over conversation and sideways glances. In the end, we get a picture of four people's outlook on love at one very specific point in their lives. Carver doesn't choose to tell us much about his characters' histories or their futures; his scenes are merely snapshots of his characters' lives. Readers can make up the rest.
In contrast, Alice Munro's stories are almost like short novels. Her recent collection, Too Much Happiness, features many protagonists reflecting on their lives. Munro uses this perspective to tell an entire life's story in twenty pages. By doing this, she essentially distills a life to one aspect of it. This is necessary to fit everything in twenty pages, but also gives the reader a skewed sense of what is significant in a character's life. For example, the story "Fictions" begins as the story of a marriage between a woman, Joyce, and her husband. Her husband leaves her for a lumberjack-type woman. In the second half of the story, Joyce is a 65 year old married to her second husband. At a party, she meets a woman who is the daughter of the woman that Joyce's first husband left her for. The daughter is now a successful short story writer. Joyce picks up her book at the bookstore, and -- of course-- one of the short stories is about her. The story then unfolds as a series of Joyce's predictions about the short story and the author's subsequent ability to exceed these expectations. We see everything from Joyce's perspective, but through the short story, we see everything as a film reversal.
Finally, Maile Meloy's Both Ways is the Only Way I Want It tells beautifully constructed, yet more conventional stories than either Munro or Carver. In precise, twenty page stretches, Meloy shapes a beginning, middle and end. Most of her stories are set in the Northern Midwest/Plains states and evoke a sense of isolation. They range in theme from stories of growing up to stories of settling into marriage. Meloy's voice, however, reveals something new about each of these themes. Her story "Spy vs. Spy," for example, at first appears to be a typical story of sibling rivalry. Aaron and his younger brother, George, gather for a ski trip with Aaron's family and George's girlfriend. Over the course of the trip, we learn that Aaron is the responsible one who resents his brother's free-wheeling life. Of course, Aaron challenges George to a black diamond slope, falls, and gets in a fight with George. But Meloy peppers Aaron's thoughts with childhood memories that add dimension to the characters.
"If they'd had it out when they were younger, really whaled on eac other, then maybe it would be out of their systems...But George had always been younger, and Aaron too restrained to take advantage of his greater strength."This come at exactly the moment when we're wondering why they hadn't fought before.
In all, these three collections made terrific holiday season reading, and will be remembered all year round.