Off at a tangent, but not trawling off America.
The stories in this collection where the author is addressing the reader feel the most original, the most unique. There are, by contrast, a handful of stories written from different perspectives and without the strong presence of the author coloring our understanding one way or the other. These more conventional stories are, on their own, excellent, and if I were to discover them in journals rather than in this collection, they would shine from the pages. However, next to Coma-Thompson’s more personal, weirder stuff—where the intense authorial presence elevates the stakes—these ‘normal’ stories feel comparably ordinary.
Coma-Thompson is at his strongest when he is working in this omniscient, essayistic mode, just kind of talking, pondering, all the while slyly assembling a narrative before our very eyes. It is difficult to accurately describe this unadulterated, unmanipulated form of narrative without getting messianic. In a way this type of storytelling feels like pure narrative, motive free. There is so much formulaic elicitation in modern short fiction, so much effort towards and emphasis on locking in a reader’s emotion early on in the hopes of hedging against a reader’s flimsy attention span. This strategy becomes tiresome; the real thing—what feels like honest storytelling—can feel like a good friend telling you a story, and that makes for effortless reading. In many of these stories, Coma-Thompson achieves something like that.