I’ve always loved short fiction. When I went to my interview at Birkbeck for a Creative Writing MA, over a decade ago, I had in my bag Flannery O’Connor’s collection A Good Man is Hard to Find. It was my talisman. I’d always loved the way O’Connor married emotional truthfulness and precise detail about a specific region, the deep south of America, with something more strange, mysterious and full of wonder. I entered the world she created and, on the final page of each story, I remained there long after closing the book. There was always more than met the eye, a conundrum or a human puzzle, a question left unanswered, a marvelling at the oddness (yet unsurprisingness) of human life and behaviour. As O’Connor herself said in her writing about fiction, a story is not a story if it can be summed up, if its ‘theme’ can be announced plainly, as if it were an argument. For her, fiction is all about ‘mystery and manners’. Fiction cannot be fully explained.
At that Birkbeck interview, I was asked why I had applied and what I wanted to learn. The answer was quite simple; I wanted to know how to tell, withhold and reveal, and how much, in other words how to get that fine balance that writers like O’Connor and Alice Munro and William Trevor achieve, seemingly so effortlessly, between the reader knowing too little and knowing too much.
In my MA dissertation I decided to submit a collection of short stories, inspired by reading Chekhov’s famous short story ‘The Kiss’. I started to explore the significance of the kiss in many different contexts – something rather taken for granted perhaps in everything other than romantic fiction. The chance to workshop the stories helped me enormously in having a live audience who could respond to drafts. My co-students gave me invaluable feedback on many aspects of my writing, including that most important issue for me, of what to withhold and what to reveal. Some of the stories in my new collection, Kremlinology of Kisses, and the whole concept for the collection, emerged from that work. I then added to these, bit by bit, over time
The stories in Kremlinology of Kisses are all very different. They’re written in multiple styles and voices, in different genres. They span different times and places. They certainly don’t have the stability of setting of Flannery O’Connor’s regional work, or of William Trevor’s Anglo-Irish stories. And yet there’s a common thread to them and a set of ideas about people and their lives that allow the stories speak to each other, as well as to the reader. They explore ideas about intimacy, or the lack of it, about opportunities grasped or missed, about the importance of a kiss and what it might signify. I hope they will provoke questions as much as offering answers and that, like the bowls of porridge, the chairs and the beds in the famous fairy tale, I give away not too little, not too much, but rather what’s just right!
Blue Door Press is pleased to announce the online launch event on December 7th at 8pm, where Barbara will read from the collection and be interviewed by writer, Lawrence Scott. There will also be a Q&A session.
Please book here if you wish to join us.