If you were around a century or so ago, and you knew him well, you might call him Bill. On a legal document, William Sidney Porter. If you read any of his 300+ published stories, you knew him by his pen name: O. Henry. The name now commands a prestigious short story award, but more than anything, his work effectively trademarked a device: The twist ending, the literary tie that binds. When you or I try it, the reader calls it an O. Henry twist.
I don’t set out to write twist endings, although it is known to happen. I go for resonance, a finish that hopefully keep the reader’s creative chords humming. With “First Rodeo” I started Continue reading “Behind: “First Rodeo””
Southern lit. Family conflict. Race and social issues. Push-pull of tradition. Sense of belonging to place, like it or not.
I don’t write it.
Or at least I hadn’t until earlier this year. So it’s a thrill that my “Dark Days for the Professor” has been included in NWMG’s Southern lit anthology Not So Fast.
So I don’t write Southern–themes generally or voice specifically–but I’m immersed in the South. And oddball humor? I am to oddball humor what cats are to my couch: hairy and all over it.
I thought about this one a long while. For me, good Southern lit says something. Stuff gets real. Real real, no magic wind or giant bateau mouche. My first challenge was Continue reading “Behind: “Dark Days for the Professor””