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Fissures: One Hundred 100-Word Stories Paperback – May 1, 2015
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"I've always thought life is more about what is unsaid than what is said," he says. "We live in odd gaps of silence, irremediable interstices that sometimes last forever. A lingering glance averted. The lover who slams the door and runs away. Unsent letters."
Faulkner, the executive director of National Novel Writing Month and the co-founder of the lit mag 100 Word Story, has focused on longer narrative forms for most of his writing career. He wondered, however, if instead of building an entire world with text--to sew connections, to explain--he did the opposite.
"What if instead of relying on the words of a story, I relied on the spectral spaces around those words? What if I privileged excision over any notion of comprehensiveness, and formed narratives around caesuras and crevices?"
"Fissures is disjunction at its most disruptive," says Pamela Painter, author of Wouldn't You Like to Know. "Faulkner's stories are 'spectral spaces' captured with 'hard borders' and his dangerous eye for truth."
Two stories in Fissures, "The Toad" and "Way Station", were chosen for Best Small Fictions 2016, judged by Stuart Dybeck.
- Print length122 pages
- LanguageEnglish
- PublisherPress 53
- Publication dateMay 1, 2015
- Dimensions5.25 x 0.29 x 8 inches
- ISBN-101941209203
- ISBN-13978-1941209202
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Editorial Reviews
Review
"Every detail, in this terse form, seems telling, radiating a mysterious significance. Much like other restricted forms--haiku came to mind more than once, in reading this book--syntax is folded in upon itself, words standing alone like miniature paintings." - decomP
"Using such poetic techniques as compression, ambiguity, and vivid imagery ('I was the kid with mangy ears and biscuits sopped in syrup'), the author tells large stories within tiny spaces: in fact, when writing Fissures he focused on the spaces themselves, those 'odd gaps of silence' that can translate into distances and disconnections between loved ones." - KYSO Flash
"These ephemeral works are meditative like well-crafted haiku. And much like a well-crafted haiku, they are not a simple formal exercise. We sense the expanse between the characters." - Your Impossible Voice
"The stories read as breaths, as whispers, as reflections in glass." - Puerto del Sol
From the Author
The idea of capturing such small but telling moments of life is what drew me to 100-word stories (or "drabbles" as they're sometimes referred to). I'd previously written novels and longer short stories, forms that demanded an accumulation of words--to sew connections, to explain, to build an entire world with text. I wondered, what if I did the opposite? What if instead of relying on the words of a story, I relied on the spectral spaces around those words? What if I privileged excision over any notion of comprehensiveness, and formed narratives around caesuras and crevices?
We live as foragers in many ways, after all, sniffing at hints, interpreting the tones of a person's voice, scrutinizing expressions, and then trying to put it all together into a collage of what we like to call truth. Whether it's the gulf between a loved one, the natural world, or God, we exist in lacunae. I wanted to write with an aesthetic that captured these "fissures," as I began to think about them.
Perhaps I could have accomplished such an aesthetic of writing in a longer form, but the hard borders of a 100-word story put a necessary pressure on each word, each sentence. In my initial forays into 100-word stories, my stories veered toward 150 words or more. I didn't see ways to cut or compress. I didn't see ways to make the nuances and gestures of language invite the reader in to create the story. But writing within the fixed lens of 100 words required me to discipline myself stringently. I had to question each word, to reckon with Flaubert's mot juste in a way that even most flash fiction doesn't. As result, I discovered those mysterious, telling gaps that words tend to cover up.
We all have a literal blind spot in our eyes, where the optic nerve connects to the retina and there are no light-detecting cells. None of us will ever know the whole story, in other words. We can only collect a bag full of shards and try to piece them together. This collection is my bag full of shards.
From the Back Cover
--Pamela Painter, author of Wouldn't You Like to Know
"Grant Faulkner's stories are poetic and creepy and funny and touching and you're going to have a swell time. I wish I had written some of them."
--Lou Beach, author of 420 Characters
"Grant Faulkner is the impresario of 100-word stories. The 100 tantalizing fictions in shock and please--a precious pile of sparkling surprises."
--Jane Ciabattari, author of Stealing the Fire and California Stories
"Grant Faulkner's sharply observed, darkly funny, heart-breaking bursts of highly compressed prose offers a startling view of what reality might look like through a funhouse microscope. Fissurespushes the boundaries of flash prose, and thank goodness for that. Sometimes less is so much more."
--Dinty W. Moore, author of Dear Mister Essay Writer Guy: Advice and Confessions on Writing, Love, and Cannibals
About the Author
Product details
- Publisher : Press 53 (May 1, 2015)
- Language : English
- Paperback : 122 pages
- ISBN-10 : 1941209203
- ISBN-13 : 978-1941209202
- Item Weight : 5.1 ounces
- Dimensions : 5.25 x 0.29 x 8 inches
- Best Sellers Rank: #1,457,811 in Books (See Top 100 in Books)
- #5,568 in Fiction Urban Life
- #25,200 in Short Stories (Books)
- #62,156 in Literary Fiction (Books)
- Customer Reviews:
About the author
As a boy, I spent my allowance on all sorts of pens and paper, so there was never much question I would become a writer. I received my B.A. from Grinnell College in English and my M.A. in Creative Writing from San Francisco State University.
It seems like I should have other degrees, such as an MFA in Novels about People Doing Nothing But Walking Around, a PhD in Collages and Doodles and Stick Drawings of Fruitless Pursuits, or a Knighthood in Insomniac Studies, but I don't.
My essays on creativity have been published in The New York Times, Poets & Writers, Writer’s Digest, and The Writer. My short stories have appeared in dozens of literary magazines, including Tin House, The Southwest Review, and Puerto del Sol. My stories have also been included in Best Small Fictions 2016 and in the upcoming Norton anthology New Microfiction.
My collection of one hundred 100-word stories, Fissures, came out in 2015 with Press 53, and Pep Talks for Writers: 52 Insights and Actions to Boost Your Creative Mojo was published by Chronicle Books in 2017.
I'm also the executive director of National Novel Writing Month, co-founder of the lit journal 100 Word Story, and co-founder of the Flash Fiction Collective.
Oh, and I've presented at such shindigs as the Frankfurt Book Fair, the Chicago Humanities Festival, the Associated Writing Programs Conference, Book Expo America, the Oakland Book Festival, the Bay Area Book Festival, the San Francisco Writers Conference, the Commonwealth Club, the Digital Publishing Innovation Summit, Writers Digest West, and LitQuake.
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You ask most folks in the know what distinguishes a prose poem from flash fiction -- especially microfiction like these tiny 100-word stories -- and they'll tell you, not much. And truth be told, some of these pieces in fissures do feel a bit more like poetry, or old-fashioned sketches, or vignettes, or disembodied scenes. But that doesn't deprive any of them of their immense power, and even in such impressionistic brevity, most of these stories are true stories, whole narratives tossed on the page with the minimum strokes of a pen, like some Japanese painting.
It helps that so many of the stories are connected -- I look forward to rereading this whole book and piecing together the longer narrative of Gerard and Celeste, or of Zabeth. And of course there is the central eight-story cycle of Alexander, the filmmaker.
But really, there is equal magic in the isolated, momentary lives of Stockton and Sophie postcoital on a Victorian couch, of Tom and his father in the silver LTD, of Margery and George drinking martinis in jelly jars, of all the nameless "I" narrators and "you" subjects and hes and shes of these intimate little worlds.
It's quite a feat, this book, and it serves not only as a beautiful artifact of the microfiction form but also as a kind of textbook. If ever you wanted to know how to write a full story in a mere 100 words, here are your instructions: take up Grant Faulkner, read, and read again.
This genre fits internet content space criteria very well and may become the international standard of prose fiction with punch. In addition, it is rapidly becoming the model for news reportage.
This genre fits internet content space criteria very well and may become the international standard of prose fiction with punch. In addition, it is rapidly becoming the model for news reportage.
Top reviews from other countries
Ashley Chantler, co-editor, Flash: The International Short-Short Story Magazine.