Last Tuesday afternoon, someone in my Introduction to Fiction class asked me if we would ever read a ‘happy’ story this semester, and I didn’t know how to answer. I didn’t feel comfortable saying ‘no’ or ‘yes,’ because I have a hard time understanding what is a happy story and what is a sad story. For those who don’t know, all of our readings have come from The Anchor Book of New American Short Stories, and we’re about to start reading My Happy Life by Lydia Millet for the novel portion of the course. I like to think that the kinds of things we’re reading are somewhat varied; however, another student disagreed, and criticized the selections Ben Marcus had made. The student pointed at what Marcus says in the introduction (“What I found in my reading was an amazing range of styles, beliefs, methods, ideologies, and instincts.”) and commented that despite the differences Marcus intended to show, the stories in the anthology, in the student’s opinion, are all generally sad and depressing. And if we categorize stories that way, and if we assume that we share the student’s definition of sad, then there isn’t much variety in that, right?
But, and this is my question, are there really happy stories and sad stories? If they exist, how do you define one or the other, or is it even a matter of one or the other?
Narrow House, who has been “creating interdisciplinary language-based craziness for five years running,” has released the