Enter your PIN fertile xx mg The selection of the brilliant Alice Munro is a thrilling one, a triumph for short-story writers everywhere who have held her work in awe from its beginning. It is also a triumph for her translators, who have done excellent work in conveying her greatness to those not reading in the English she wrote down. This may have to do with her enduring themes and sturdy if radical narrative architecture, but these seem to have been served well by careful translation. If short stories are about life and novels are about the world, one can see Munro’s capacious stories as being a little about both: Fate and time and love are the things she is most interested in, as well as their unexpected outcomes. She reminds us that love and marriage never become unimportant as stories — that they remain the very shapers of life, rightly or wrongly. She does not overtly judge — especially human cruelty — but allows human encounters to speak for themselves. She honors mysteriousness and is a neutral beholder before the unpredictable. Part of her genius is in the strange detail that resurfaces, but it is also in the largeness of vision being brought to bear (and press on) a smaller genre or form that has few such wide-seeing practitioners. She is a short-story writer who is looking over and past every ostensible boundary, and has thus reshaped an idea of narrative brevity and re-imagined what a story can do.
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