Body swap stories are high concept stories, and their popularity endures. Freaky Friday, for example, started in 1976. We keep seeing new versions.
The mother-daughter body swap is relatively ‘safe’ and the moral lesson is clear: When we literally put ourselves in cross-generational shoes, we understand the other’s point of view.
However, when the body swap is cross gender, pitfalls soon reveal themselves. Likewise, as I am finding out, middle grade human-to-pet body swap narratives are also likely to convey problematic gender ideologies.
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You may not believe in ghost stories. I don’t either. But once you understand how ghost stories work, you’ll understand how tools of persuasion are used in other realms. Studying the ghost story is a fun way to study the techniques of persuasion.
Ghost stories have plenty of other functions, too. Continue reading “When Everyone Else Is A Ghost”
“The Woman At The Store” is one of Mansfield’s earliest stories, written for the magazine Rhythm. The aesthetic goal of this magazine was pity, brutality and a carefully wrought plot with adequate foreshadowing. It is now thought that this story is far from Mansfield’s best work.
Continue reading “The Woman At The Store by Katherine Mansfield”
“At the Bay” (1921) is considered one of Mansfield’s best short stories, by a writer at the height of her powers. This is one of the three about the Burnell family, who also star in “Prelude” and “The Doll’s House“.
Read “At The Bay” at the Katherine Mansfield Society website.
“At The Bay” is an interesting case study for writers, for so many reasons. Notably:
- The way Mansfield creates her characters in pairs, to compare and contrast them. If one character goes visiting, so does her counterpoint character.
- This is an example of a story in which no one has any big self-revelation. Like Mad Men famously achieved, the characters go about their own lives, continuing to make mistakes, learning little, and that is how life really is. This is the ultimate realism, though it can feel to the reader like ‘nothing happens’. We tend to say of these stories, ‘It’s not got any plot’. Or, it’s an ‘anti-plot’.
- But apart from the lack of growth, “At The Bay” does conform to classic story structure, and even the lack of Self-revelation is replaced by characters who suddenly change their emotional valence, either because they are practising ‘opposite action’ or because they suddenly become scared or whatever.
- Mansfield’s scenes each feel complete in their own right because the emotional valence changes from beginning to end. Linda starts off with no emotional affect, but ends the scene beaming at her baby boy. Beryl starts off scared with Mrs Kembers than feels jubilantly free for a second. Stanley rushes into the water triumphant to be first and is immediately irritated to find he is not first after all. Mansfield’s emotions swing from one extreme to the other. If we find our own scenes emotionally flat, a read of “At The Bay” should set us back on the right track.
- Mansfield also has a real affinity for children. She recreates play scenes and child interactions so authentically, without glossing over the fact that the hierarchy between children can be brutal. There’s nothing mawkish about these children.
Continue reading “At The Bay by Katherine Mansfield”