Category Archives: Molly Gaudry

Molly Gaudry’s Top Ten Novellas

Here’s my list, without commentary—I’m just not sure what I can say about these; I guess I feel the list is stronger as a list, without my bungling it by attempting to discuss it.

The Baron in the Trees, by Italo Calvino

Haroun and the Sea of Stories, by Salman Rushdie

Leaf Storm, by Gabriel Garcia Marquez

The Decameron, by Giovanni Boccaccio

The Passion, by Jeanette Winterson

In Watermelon Sugar, by Richard Brautigan

The Grass Harp, by Truman Capote

In the Skin of a Lion, by Michael Ondaatje

Nip the Buds, Shoot the Kids, by Kenzaburo Oe

The Old Man and the Sea, by Ernest Hemingway

Molly Gaudry edits Willows Wept Review and Willows Wept Press, co-edits Twelve Stories, and is an associate editor for Keyhole Magazine. Scantily Clad Press published her first e-chapbook of poems, Bloody Floral Sandals, and Publishing Genius Press will publish the first chapter, “Problems of Depiction,” of Mourning Land: A Biomythography as part of its This PDF Chapbook series. Find her HERE.

A Dialogue Re: Flash Fiction, etc.

At her blog Green City News, Molly Gaudry opened up a forum about flash fiction, among other things, in an entry entitled “Flash fiction, Indie Lit, and the Beats.”

Here’s my quick response:

“It’s a tremendous challenge you face regarding defining, compartmentalizing, speculating about, teasing apart, questioning a form that’s reared in, or at any rate, results in a feeling of immediacy, poignancy, intimacy, connection, something that may act like a virus, a germ, that assaults, coerces, teases, a form having, at its best, haiku’s cogency, a stand-up comic’s delivery, the speed of telling the news but not the weather, a form that stings like a slap, purples like a bruise, a form that at its worst sounds like some drunk dude flapping his gums (it sounded funny or clever at the time, but was really just some guy being dumb), a form that because of its democratic impulse, has opened the floodgates for all kinds of detritus, making it all the more difficult to ascertain quality, importance, significance. Maybe time will tell. But then again what tale does time really tell anyway?

And so now I ramble.

As for demarcating lines between flash, micro- and short fiction, mini-prose poems, etc., I think it’s critical to consider that while hairsplitting results in two hairs, it also results in one original hair diminished. But then again, who’s to say split-ends don’t have their own kind of beauty? Ah, it’s all pretty hairy anyway.

So then, disjointedness and confusion is one possible, if not viable, approach.”

Please feel free to join in the dialogue.