I don't really have a list.In the cold spring of 1936, Arthor Crandle, down-on-his luck and desperate for work, accepts a position in Providence, Rhode Island, as a live-in secretary/assistant for an unnamed shut-in. JB: Anne McDermid & Associates: haven't gotten around to creating an author website.
Where can people go to learn more about you and your work? I think the short story as a narrative form is so much better suited to this than the novel. So much meaning - so much that is vital - rests in those quiet, understated moments that slide past us. As a reader, I guess I want to intrigued in some way, I want to feel that this moment, however brief, however quiet, is important. But, as some other writer - probably Flannery O'Connor - said, No one's really gotten away with very much. I think you can get away with whatever you can get away with. JB: I don't know that I think there necessarily are any essential elements. What, for you, are the essential elements of a good short story? But sometimes you can see the "what" more clearly with a bit of distance. Alice Munro says sometimes you can't go back to the "what" of what a story was. When I pulled it out again last fall, the focus of the story just leapt out at me and I wondered what all the fuss was about back then in not being able to see it. Back then, I don't think I had a clear sense of what the story was about. I'd written a version of this story as an undergrad at UVic. It may not be working at the time, but it might if you come back to it with a clarity of vision distance sometimes brings. JB: One of the things I tell my students is, Never throw anything away. When did you write it, and how did the writing process compare to your other work? I would rather answer any other question. JACQUELINE BAKER: I am the absolute worst at answering this question. Jacqueline Baker, author of The Broken Hours, can spot a Baptist at a hundred yards.
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