by Rick Rofihe
Most of the short stories that, as an editor, I like, or that, as a writer, I write, seem to be ones where the light's on the protagonist nearly all of the time, and the "supporting cast of characters" are reduced to near-ciphers.
Lately, I've been reflecting that it was my circumstances-of-birth that led me to my isolated-protagonist stance—in 1950 my father was in his 50th year, my mother was 30, my brother was 14 and I was, well, ZERO. That is, as there were four generations where there should have been only two, none of us were proper company in the house for any of the others. This has affected me in my tastes in fiction—stories with scenes at parties, in bars, even ones containing the dialogue over any family dinner-table, seem too "crowded with characters" for me to linger there for very long....
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Creative Nonfiction meets Autobiography...
Yes. This will stay in my mind as an interesting exploration of "cause and effect." *
I agree. Could never got into stories with a bunch of characters running about the place, the focus always meandering. Eight isn't enough, it's too damn many-- at least for fiction. *
Fascinating look into how our background shapes our preferences. *
Ah, that explains a lot. The reluctance of lingering... *