Overloaded with Wasps 
James Wood
A controlling symbol or organising detail or image can be sensed fizzing away like a lozenge of meaning in most contemporary short stories. The delicate art of these stories allows the writer to draw our attention to such symbols or images without pressing too hard on the connection. Suppose that a man and woman are getting married. The bride feels that she may be making a mistake, that she will be swamped by her more successful husband-to-be. Weeks ago, she had been reading about a new dam being built in China, which had involved the flooding of entire villages and the obliterating of the evidence of hundreds of lives. At the wedding, the bridegroom’s mother knocks over the punchbowl, sending liquid all over the polished floors. The story can now expire into figurative ellipsis, the mere assemblage of careful parts having done its subtle work of implication and connection.
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James Wood’s How Fiction Works is just out. He is also the author of The Broken Estate: Essays on Literature and Belief and is a staff writer at the New Yorker.
Other articles by this contributor:
Addicted to Unpredictability · Knut Hamsun
Damaged Beasts · Peter Carey’s ‘Theft’
Nothing in a Really Big Way · Adam Mars-Jones
The Lie-World · D.B.C. Pierre
Credulity · ‘Life of Pi’
The Slightest Sardine · a literary dragnet
Gossip in Gilt · John Updike’s Licks of Love
Bohumil Hrabal · the life, times, letters and politics of Czech novelist Bohumil Hrabal
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