What is good about reading let’s say, short story collections continuously for example, is that the reading mind adjusts to a certain set of points that are consistently sought, noted as present or lacking. New things come up, as in the story "Crossing with Sassafras" where the time play within the narrative structure was skillfully manipulated so that the flow was easily read and comprehended.
In another story in this same issue, "Berlin Station" by Laurence DeLooze, the time segments are not, I feel, so well manipulated because they are stories of several generations, different episodes broken into segments, and while the author seemed aware of this, the solution of titling and numbering the series hit me not as guideposts but as stop signs, or perhaps a better analogy might be streetsigns in a major big city while I’m toting around three suitcases and an umbrella.
The story is wonderful, and the potential power of it is reduced by the too narratival approach to all that’s going on (lotta tell, little show) and perhaps a more linear line would help to lessen the push-pull of the reader through the story.
Aside from this, I also was a bit surprised by the ending, but surprised not by the story ending but how the writer chose to reveal it almost as a spiritual or ghostly visit that spurred a tough decision.
My, my, aren’t I the picky one lately.
The Lost Children: A Charity Anthology