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Every place has a rhythm. You must echo that rhythm in your writing. A character in New York City will not be as mellow as a character on the beach. A character in Wyoming will have a more expansive view than the character in Los Angeles. Captain Ahab in Moby-Dick might have had the grandest and most inclusive vision of all had he not permitted that vision to curdle into one single, obsessive focus. But that is Melville’s character; Melville himself is determined to make his novel as commodious and comprehensive as the ocean. Or consider E. M. Forster’s beautiful and foresighted A Passage to India, in which the English author dissects the tensions between native Indians and their British rulers. More… “A Gun in the First Act”

Kelly Cherry‘s new poetry book is Quartet for J. Robert Oppenheimer. Her book of flash fiction titled Temporium is forthcoming later this year.
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In her essay “Place in Fiction,” Eudora Welty wrote that “place is one of the lesser angels.” She said other considerations were more important than place — “character, plot, symbolic meaning … and feeling, who in my eyes carries the crown, soars highest of them all and rightly relegates place into the shade.” She did not mean by this that place is a minor or accidental consideration in fiction. She meant that place is what anchors the fiction, gives it a reality to stand on even when everything standing on it is unreal. If you can make that place palpable to the senses, it doesn’t matter whether it is an imaginary place or a place in outer space or a momentary vision. As long as it can be perceived via our five senses, the reader will accept it as true even knowing it is not true.

Fiction is about people making something happen or responding to what is happening. Whatever happens, happens somewhere. It takes place. Therefore, fiction takes place too.
More… “Whatever Happens, Happens Somewhere”

Kelly Cherry‘s new poetry book is Quartet for J. Robert Oppenheimer. Her book of flash fiction titled Temporium is forthcoming later this year.
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