Ho scelto questa raccolta di racconti dopo aver letto una bella recensione sul blog di Paolo Cognetti. Li ho trovati originali e scritti in maniera lineare. Si parla di persone, sentimenti, ricordi che svaniscono e di cosa resta. Il succo sta nell'incipit del racconto "Affidarsi" che dice: “La gente semplicemente scompare. Mia moglie se n’è andata. Mia madre ha raggiunto una vecchiaia robusta. E mia figlia la vedo solo raramente.” Molti hanno paragonato lo stile di DW alla Munro. Credo sia vero in parte, nel senso che le storie raccontano le dimaniche dei sentimenti fra genitori e figli, moglie e marito, fratelli e sorelle. Ho invece trovato un paio di caratteristiche che appartengono a Carver: una scrittura minimale, quasi priva di aggettivi, ma allo stesso tempo molto efficace, e l'assoluta e straordinaria capacità di trascinarti dentro la storia con poche parole. Leggi i racconti, ma c'è qualcosa sotto che ti spinge a continuare a leggere e ti tiene incollato con la faccia sulla pagina.Il racconto più bello è "Fuga", il dolore del giovane vedovo lo si può praticamente toccare e la sua ricerca di conforto nella mani da prestigiatrice di una croupier è a dir poco magica. Every once in a while I'll come across a book with such stunning writing that when I get to the end of it I can't help but heave a great big sigh of relief. There is hope. There is talent. There are WORDS.I like reading anthologies but they're usually a compendium of stories from different writers so each work is, by default, going to be different. Different styles, different prose, different methods. Personally I find it a lot harder for an author to write a single anthology composed entirely of their own stories and have each story differentiate itself from the last. My experience in that is pretty even keel; one working out not so well and the other I ended up loving. VANISHING? Yeah, I pretty much loved it.VANISHING has stories told of life. They're not all that action-packed. In many not much really happens outside of a character's internal monologues. But the way they're all written Willis just sinks her claws into each and every one of her characters and forces them off the page so that you can't help but see them as their own individuals. And that's exactly what they are. From the grieving scientist in ESCAPE to the lonely teacher in THE FIANCEE to the boy-turned-man in AND THE LIVING IS EASY, each are individuals, each are wholly separate and each are as vivid in my mind as if they were all given their own books.VANISHING is one of those books that one SHOULD read because it's that kind of book. These are the stories that would get taught in literature classes, dissected for meaning, subtext, intent. To some that's a bad thing but I loved reading good short stories when I was in school. It was how I was introduced to the likes of Flannery O'Connor. And she's pretty awesome. But just because people SHOULD read it doesn't make it bad or dull. They're all engaging stories, each and every one of them, with a range of protagonists, a range of ages and a good mix of both sexes. There is literally something for everyone in VANISHING and the writing is so good all the rest would just suck you in anyway.All of the stories are inherently real, spun golden by words that would make any writer envious (including this one). But it's not a high falutin, overtly showy type of writing. It's glorious, simple enough to hook the resistant but intricate enough to ensnare the more well-read, those with noses held higher than others. When literary does it right, it REALLY does it right. Willis's writing is effortless. She doesn't come across as trying to impress or show off her writing prowess. Her words are for the stories and the stories are for you. It's that simple. And they're wonderful.There may not be anything supernatural in VANISHING but that doesn't make it any less engaging. It still hooks, it still drags you in and then spits you out, leaving you reeling in your book hangover because the writing . . . THE WRITING. It stuns. It really does.
Do You like book Svanire (2012)?
Dark and twisty. Everything I love about Canadian fiction.
—CIRA
