Dancing Priest

Author and Novelist Glynn Young

short story

“Ushers” by Joe Hill

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Martin Lorensen is a young man who’s been extremely lucky, or he’s extremely guilty. Twice he’s narrowly escaped death – a train wreck and a school shooting. Both times, his escape was a last-minute thing – a panic attack kept him from boarding the train and an upset stomach stopped him from entering school and returning home. In the train wreck case, he warned a mother and daughter not to board.

The FBI is interested. Very interested. To the two agents interviewing Martin, it seems like there’s a strong possibility that Martin knows what’s going to happen before it does. And perhaps he’s not the lucky bystander. Perhaps he’s the cause.

Joe Hill

Ushers is a short story by best-selling writer Joe Hill, and it’s one creepy story. You’re sucked into what may or may not be a tale of a serial killer. The story is structured in two parts – an “informal” interview of Lorensen by the agents and then a meeting in a bar between the suspect and one of the agents, where all is made clear.

Hill is the author of The Fireman, Heart-Shaped Box, and Strange Weather, among many others. Several of his stories have been adapted for movies; his Locke & Key stories became a popular series on Netflix. He’s also written several graphic novels, and he has a not terribly active blog at Hill’s House (the title possibly being a nod to Shirley Jackson and The Haunting of Hill House).

Ushers begins as a police procedural type of story and ends as something entirely different. And Hill nicely builds the tension right to the breaking point.

A Language Lesson

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I have a short story in the fall edition of Cultivating Oaks Press. The edition focuses on the theme of “fortitude,” and my story is entitled “A Language Lesson.” This is how it begins:

As the train arrived at Heidelberg Station, Sam McClure smiled to remember the first time he’d arrived here. In 1906, he’d just turned 16 and was preparing to spend his high school junior year with a family in Germany. He’d traveled by himself across the Atlantic on the H.M.S. Heimat for Hamburg, sent a telegram to Heidelberg to alert them of his arrival, and taken the train to his sponsoring family. His textbook-fluent German had been more than useful from the time he boarded the German liner in New York Harbor.

The Mittelstein family had been waiting: Dr. Aaron Mittelstein, chemistry professor at the university; his wife Ada; and their three children, Wolfgang, 18, Paul, 16, and Annaliese, 13. Wolfie was preparing to leave for university in Berlin. Paul, known as Mitti for being the middle child, was almost exactly Sam’s age and would share the same classes in Gymnasium, the German school he would attend. Annaliese would be attending Gymnasium with them.

Sam hadn’t known then what the Mittelsteins thought, but for him it had been love at first sight. That love, and what would become his deep friendship with Mitti, sustained him through a huge bout of homesickness and a steep cultural learning curve. He’d come to love this family so deeply that he returned four years later and stayed with them for a year abroad at the university.

To continue reading, please see my post at Cultivating Oaks Press. You can read all of the contributions here.

Two Short Stories by Louisa May Alcott

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I’ve been reading stories and novels by American author Louisa May Alcott (1832-1888) to understand what the popular culture of the 1860s,1870s, and 1880s was like. I could call it research for my historical work-in-progress, and it is that, but it’s also become something more.

Alcott first gained literary notice during the Civil War. In 1863, she published Hospital Sketches, a collection of stories about a volunteer’s experiences in a Washington, D.C., convalescent hospital for wounded Union soldiers. As serious as the subject was, Alcott also treated it with sympathetic humor, and she did it the right way by making herself the object of the jokes and comical situations. 

She continued to write and publish short stories (the family needed her income). And then, in 1868 and 1869, came the two-part publication of Little Women, and international fame for Miss Alcott. (I’ve told the story here of how I came to read Little Women, not exactly voluntarily.) When she did a European tour in 1870, she was surprised to discover that she was famous in England as she was in America. Little Women was a sensation.

It’s also set during the Civil War, and the wounding of the March patriarch in battle becomes one of the significant scenes of the novel. Several of her short stories also referred to the war, set either during or shortly afterward.

A Country Christmas is one of those stories. A young woman visiting relatives gets the idea to invite two city friends to spend “a real country Christmas” with them. It’s not exactly a “city mouse and country mouse” story, but the two rather blasé city friends experience the values of family, community, hard work, and true friendship. It’s a charming story, definitely of its period, and it shows the author using a light touch to extol country values.

Kate’s Choice was published sometime later and most likely after Alcott’s European tour. A teenaged English heiress is sent to America after the deaths of her parents. Her mother had been the only daughter among several brothers in a farm family. All of the children had done well financially, but their lives had taken them away from their mother. 

According to the terms of her father’s trust, Kate is to visit each of her uncles’ families and decide which one to live with. All of them are interested in the girl – she’s charming, pretty, and extremely wealthy. But it’s only when she visits her grandmother that she makes her choice, and the lives of everyone in the family will change. It’s a sweet story and again very much of its time. 

What do these stories tell you about Alcott? She was a woman and author of her time, but she was also something more. Her female characters are strong ones; no damsels in distress are found here. Her stories are straightforward accounts and (fortunately) lack the element of “breathless prose.” G.K. Chesterton would say that she anticipated the School of Realism by about 30 years. 

Alcott also knew her audience – girls and young women. She tapped into an awareness that was growing that would eventually lead to women’s suffrage and equal rights. Her stories may be about well-to-do and middle-class girls at home, but her heroines are independent, with dreams and aspirations of their own. Likely much like Alcott herself.

Related:

Little Women by Louisa May Alcott.

Hospital Sketches by Louisa May Alcott.

Photograph: Louisa May Alcott about 1870.

The Unexpected Ballerina

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The summer issue of Cultivating Oaks Press is live online, and the theme is courage. It includes a short story I wrote, “The Unexpected Ballerina.” The issue is chock full of articles, poems, photography, and more by Annie Nardone, Junius Johnson, Maribeth Barber Albritton, Amelia Friedline, Kris Comely, Justin Lee Parker, Amy Wevodau Malskeit, Rob Jones, and more, under the general editorship of Lancia Smith. It’s a wonderful issue.

“A Shining” by Jon Fosse: It Does Have Punctuation, Which Helps 

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In 2023, Norwegian author Jon Fosse received the Nobel Prize for Literature. He’s a novelist, playwright, essayist, and author of children’s books; in fact, he’s likely better known for his theater plays than his novels. 

When I read about the Nobel, I checked Amazon to see what of his works might be available in English. At the time, there wasn’t much; the situation now is considerably different. There was a short story available in translation, A Shining, translated by Damion Searls. 

A Shining is a short story, longish as in – coming in at 43 pages in the e-book version. It tells the story of man who drives from him home with no destination in mind. He simply keeps driving until his car gets stuck in a narrow forest road. After debating what to do, he decides to try to find help in the forest.

The man moves through a series of dreamlike sequences; the shining of the title happens two or three times, when some kind of shining presence is watching him, then walking with him. He also sees his own parents. By the end, he’s in the presence of his parents and the shining presence, still walking through the forest, barefoot. (And it’s cold and snowy; he shivers from the cold several times and wishes he’d stayed in his car.)

The entire story is a metaphor for death; he never says his parents predeceased him, but they’re barefoot, too. The presence is something of a God-like guide, not directing toward any particular end or goal but just being there.

Jon Fosse

It’s an unusual story. It’s also a 43-page story with one paragraph. While the indent feature on his keyboard might have been broken, the effect of a single paragraph is essentially to compel the reader to keep reading; there’s no good place to stop or even pause. The story does have punctuation (another Nobel Prizewinner, William Faulkner, could often be bad about that), and punctuation helps.

The story is rather haunting. It builds a sense of frustration; how long is this guy going to continue to wander in the dark and not find help? The help does come, of course, but it’s not what the reader’s expecting. It’s a story about death, but it’s also a story about faith. The story may have been influenced by his own childhood when he suffered a serious accident and came close to death. He speaks of seeing “a shimmering presence.” He was raised in the Quaker and Pietest traditions, and he’s now a practicing Catholic.

His Nobel lecture is entitled “A Silent Language.” It’s available to watch on YouTube (he’s introduced in English but his lecture is Norwegian) and it can be read in English here.

Top photograph by Casey Horner via Unsplash. Used with permission.

Christmas Oranges

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I have a new short story, “Christmas Oranges,” published today at Cultivating Oaks. It’s based on a work-in-progress, tentatively entitled Brookhaven. You can read the story here; the entire Christmas issue can be accessed here. 

The story, like the work-in-progress, is historical fiction, set in 1863 to 1865 during the Civil War, the Reconstruction period, and 1915. It is loosely (very loosely) based upon events in my own family, although the characters are entirely fictitious.

Photograph by Leonardo de Assis via Unsplash. Used with permission.