Astonishingly assured writing of characters so hesitant and fragile that your heart breaks for them. This is George Saunders at his best. With stories so lean that each individual word is vitally important. And even the nuance is nuanced.

Every story in this collection deserves mention as both typical of Saunders’ earlier style, and adventurously striking new ground. With “Escape from Spiderhead” and “My Chivalric Fiasco” we see the satirical Saunders’ alternate future, complete with chemically induced mood, emotion and diction. These are at once lighter than some of his previous satires but perhaps (or because of that) even more cutting. A Saunders protagonist may hope for, even expect, at least within in his own mind, the world to bend itself to his needs and goals, but will find himself almost invariably brought back to reality, or lower, when the world insists on its own integrity.

Saunders is a master of the exorbitant monologue, here represented by “Exhortation” and “The Semplica Girl Diaries”, or the sad sack “Al Roosten”. But perhaps even more impressive are the stories which function as dualistic monologues—not dialogues, to be sure, but rather alternating monologues. Both the opening, shockingly surprising, story, “Victory Lap”, and the concluding title story, “Tenth of December”, take this form. The latter must surely stand as one of the finest, saddest, and bravest short stories I have ever encountered. With characters so vulnerable, so susceptible to destruction by themselves and others, only Saunders’ love for them can sustain them, even help them succeed beyond their own imaginings.

The writing is so swift and spare that a story almost sweeps past you. So take the opportunity to read it again and you will find that you will want to read it yet again, even. Highly recommended.

Mesmerizing. Like Cormac McCarthy on estrogen. Emily Schultz tells a gripping, even haunting, tale in The Blondes, that is subtle, sophisticated, sensitive, quirkily observant, and horrific.

Hazel Hayes is a Ph.D. candidate in Communications Studies spending a term in New York City to pursue her research and, in effect, to avoid her thesis supervisor, Karl Mann, with whom she has inadvisably had an affair. Absence, from Karl and from her other friends in Toronto, does nothing to alleviate her mixed feelings or help her focus on her thesis. And the fact that she has just learned that she is pregnant doesn’t help matters. Her life, her whole world, is a mess. But that’s nothing compared to the mess that is about to ensue when a pandemic of rabies-like madness begins to strike blondes and those whose hair colour has been made blonde through dyeing. From an initial attack that Hazel witnesses in the New York subway to outbreaks at JFK and further afield (the Nordic countries are severely at risk), Hazel must negotiate her way through this field of mayhem in order to get back to Toronto.

That makes it sound like a horror story, but it’s really a meditation on representations of women in culture and advertising, a commentary on systemic sexism, a reflection on a woman’s control over her own body (exacerbated by Hazel’s uncertainty over whether she wants to carry her foetus to term), a searching examination of varieties of grief, and yes, of course, also a bit of a horror story. (Interestingly, “blond/blonde” is one of the few adjectives in written English to retain its masculine and feminine grammatical genders.)

The writing is measured, thoughtful, well paced, and crisp. It was a pleasure to read and think about and I would gladly read anything else Emily Schultz chooses to write. Recommended.

Anyone who followed Frank Bascombe through Richard Ford’s previous novels in this trilogy (The Sportswriter and Independence Day) will be forgiven for some trepidation on picking up the final instalment, which is situated during the Thanksgiving Day weekend of 2000. American holidays haven’t been good to Frank. They tend to induce introspection, disruption from the usual routine, and interactions with one’s family, all of which are somewhat risky activities. And for Frank, who is now settled in what he calls his ‘Permanent Period’, such moments of personal and national soul searching usual trigger transformation. A change is certain for the country, mired though it is in the aftermath of the disputed Bush-Gore presidential election. But what kind of change can come for someone in his Permanent Period? What’s next, other than the ‘Next Level’, and what can that be other than death itself?

Frank is estranged from his first wife. His second wife, Sally, has been gone for nearly a year, having followed her former husband (who had been presumed dead) to the Scottish island of Mull. He cannot survive even a brief conversation with his son, Paul, without nearly coming to blows. His daughter, Clarissa, is pursuing her own transformations. His Tibetan colleague in Realty-Wise is itching to climb another rung on the great ladder of being. And Frank is undergoing treatment for prostate cancer. Anxious might be too modest a word to describe Frank’s state of mind.

Once again, Richard Ford paints a masterly picture of the modern condition in this gripping conclusion to his Frank Bascombe trilogy. The prose is dense with hesitant metaphor and promiscuous symbolism as Frank asserts, contradicts, and reasserts himself, more acted upon than acting, and incapable, seemingly, of transacting the smallest bit of business without disaster—physical, emotional, spiritual—rearing up and biting him. It’s hard to imagine a character more in need of our sympathy, or less able or likely to accept it.

Of course, endings are very much the theme of The Lay of the Land. One way or another, it’s the end for Frank. Eschatology breeds an intemperate clamouring for teleology. But whether Frank can piece together his life as a whole is an open question. And the end, when it comes, is always a surprise, however much we prepare ourselves.

Recommended without reservation.