Jhumpa Lahiri Books

I'm very glad I purchased this beautiful book. The pictures inside are breathtaking and show the true essence of India: its colour, its poverty and that joy of life so typical of this wonderful country.

My congrats to the author.

All I can say is, WOW.

This book is a breathtaking spectacle of color, textures, emotions, and INTELLIGENCE. What I mean is, this just isn't a book of random photographs...these are exquisitely beautiful, intelligent photographs. The fact that the pictures have been taken in India makes it more exotic and adds a bit of spice to the already obvious mysticism.

I can't say I'm a professional at photograpgy, but even i can see the classiness of this piece of art. If you love photos, exotic cultures, or even a bit of sensitivity in photographs, this book is definitely a recommended buy.

Signing off,

Secret Agent Booker

An Interpreter of Maladies is not, as Mrs. Das thinks (and as the reader of Jhumpa Lahiri's stories may initially be thinking, too), a medical doctor or a psychologist; someone who interprets the origin and meaning of his patients' various illnesses and malaises and then prescribes the adequate treatment. No: an Interpreter of Maladies is someone who helps them communicate, who speaks the patients' language and is therefore able to translate their personal representation of their feelings to the listener who then, in turn, must come up with his own interpretation of those representations.

And like Mr. Kapasi, the improbable hero of this collection's title story, Ms. Lahiri merely gives an account of her characters' feelings and situation in life at one particular moment - she rarely judges them, nor does she strive to tell the entire story of their lives; even where, as in "The Third and Final Continent," the narrative covers several decades, it is truly only one brief but crucial period which is important. No sledgehammer is being wielded; Lahiri's tone is subtle, subdued - like any good interpreter, she talks in a low voice, just loud enough for her listener/reader to understand; and you have to want to listen to her. If you expect her to shout, to force her account on you in bullet points and bold strikes, you will miss the many finer nuances in between.

Jhumpa Lahiris heroes are Asian and American, they live in India, Pakistan, London and the U.S., and they eat (and painstakingly slowly prepare) delicious, spicy and flavorful food. Many of the stories deal with emotions and life situations which, although they happen to be experienced by Indians and Asian Americans here, are truly universal - the slow and unspoken death of a marriage ("A Temporary Matter"), prejudice against the unknown, particularly when it comes in the form of an illness ("The Treatment of Bibi Haldar"), the frustrations of a life of unfulfilled promises ("Interpreter of Maladies"), and the multilateral deceptions of marital infidelity ("Sexy"), blunted by the trappings of middle class materialism (again, the title story).

Most of Lahiri's Asian American protagonists belong to the "intellectual" upper middle class suburbian population of Boston and other East Coast cities. While on the one hand this is a plus, because that is the author's own background, too, and therefore a segment of society she can describe from personal experience - which also allows her to make these characters particularly accessible - it on the other hand provides for the story collection's one deficiency; in that it renders her portrayal of Asian Americans (whether recent immigrants or second- and third-generation U.S. citizens) unnecessarily unilateral, to the point of bordering on stereotype - more precisely, the Indian version of the stereotypes generally associated with this part of society. Nevertheless, most of Jhumpa Lahiri's often unlikely heroes are portrayed in great depth, and many of them with a lot of sympathy for their humanness and shortcomings. In the best sense of her adopted role as an interpreter of her protagonists' maladies, it is this delicate understanding and empathy which ultimately carries the tone in Lahiri's writing and which makes her reader want to listen, and to come up with his or her own interpretation of each of these stories.

To give a frame of reference, some of my favorite authors are Margaret Atwood and Barbara Kingsolver. I have searched and searched for another introspective, intelligent, strong female voice, and finally I have found it. I plan on buying every one of her books and keeping them forever. In this book alone, my wisdom cache has increased, certainly the mark of a great book.

This is one of the best collections of short stories that I have read. Many of her characters stayed with me long after I finished the book. I also enjoyed "The Namesake" and can't wait to read her latest book.

I'm a fan of Lahiri's and enjoyed Namesake as well. Check it out for yourself and I'm sure you will agree. I too am tired of reading stories of the "Indianness" of being Indian. So as an Indian I appreciate this.

The book was very well written, but I found it to be a little too dark and macabre for my tastes - not exactly something you'd want to curl up and sink into...

I liked most of these stories. The first story, "A Temporary Matter," made me cry and lament a tragic failure of people to communicate and understand one another. The last story, "The Third and Final Continent," was equally moving, and restored my faith that there is innocence in love.
Overall, Lahiri's keen understanding of the nuances of relationships is impressive. In her brief stories, the complicated relationships between the characters are remarkably well-developed. She is equally deft at capturing the nuances of the human personality- her characters often can't be labeled as protagonists or antagonists. Rather, they exist in the same gray moral area as the typical reader.
The main fault I find with this collection, however, is a lack of consistency. It is easy for me to pick out the stories that were extraordinary in the book and, as for the rest, they tend to be somewhat forgettable. To be honest,I was also a bit put off by the sparsity of Lahiri's writing and the absence of figurative language which, for me, is a beautiful and important element of short fiction. Metaphor and other figurative techniques can add, succinctly, a deeper layer of meaning which Lahiri's stories lack somewhat.

As always, Lahiri's short stories resonate with me in a truly hauntingly romantic way. Her prose and character development, while some complain are overdeveloped and stagnant or lackluster, are stunningly beautiful in my opinion. Yes, it is true that she 'recycles' bits of her characters into different stories and even novels, but the way in which she does so doesn't alienate the reader, it (at least in my case) makes them fall in love with the now familiar characters. Her writing is transcendent in ways I can't explain.

There are no happy endings , yet it is not all sad.I completely enjoyed it.

I LOVED this book of short stories. I read several reviews that Interpreter of Maladies was better, but I didn't feel this was the case. I thought this was even better; very beautifully written!

These are careful, closely observed stories that the author illuminates with telling details: the way a daughter reminds a widower of his dead wife, or the silences that tense the tenuous link between parent and child. These stories focus on relationships, how they start, and how they end, but mostly about the moments and gestures that mark their stages. These stories read easily. Still, I went back and read them again, for the details that Lahiri sprinkles, like jewels hidden in a corner bookcase.

The short story is a more perfect form than the novel. Every word, every sentence is important. Novels sell better, but the short story satisfies in a way that the novel cannot. I marveled at Lahiri's artistry, how she employs language in a unique way. She does not dazzle with incandescent prose, but her honest humanity shines forth in her writing. I had never heard of her before I started this book, but her stories moved me in a deeply personal way. I encountered emotions that I have felt myself, but never articulated. This is the mark of good literature.

This is a lovely collection of short stories that stays with you long after you've read the last page. This is Lahiri's best by far...same simple yet searing language, but the observations are so true they take the wind out of you.

R.K Narayan brings to life the people and places as he narrates the story. I would strongly recommend this book for the people interested in Indian culture.

This book is a collection of short stories written in very simple language. What really makes the difference is the connection it establishes with the readers. Stories are about simple people and simple issues in life. RNK is one of the best authors I have read. He has his own style of writing.

Malgudi Days, a collection of short stories by R. K. Narayan happens to be my favourite book. The book is a compilation of different short stories that covers a plethora of emotions. It is the right balance between humour, and a dose of drama to cater to different moods of the reader. What makes this book unique is the simple, yet artistic narrative style, used by the author. The descriptions make the reader see the setting clearly. Add to it the perfect blend of beautiful Malgudi, with its rural charm and eccentric to ordinary characters, the narrative is complete. Most stories deal with normal people and their lives in a mainly middle class milieu in south India. In reality, Malgudi is an imaginary town set in the southern part of the country. But its description can be traced to any real town.

The tales come with sprinkling of gentle irony along with a humour. The endings are rather abrupt, which leave an indelible impression on the mind. The simple narrative that Narayan uses is his typical style. So, if you want to take a trip down south and explore the colours of India, you must indulge in the book and read it to your heart's content.

The stories deal with normal lifestyle of the middle class people in South India. Actually, Malgudi is an imaginary town in the southern part of India but its characteristics match with any real town. The tales come with a gentle irony and witty humour. The endings are rather abrupt and it leaves an impression in your mind. This way you are bound to think of them even after reading. The simple way, in which the book comes, is typical to Narayan.

So, if you want to explore the colours of India, you must indulge in the book and read them to your heart's content

I reread Malgudi days after 20 or so years! It was a delight just as it was when I read them the first time. Only this time; being in the US, made the Characters more endearing! Looking through the mist of time the village with all its sounds sights and smells looked prettier than a real one. This is a book for you all ex-pats to curl up on a snowy winter day with a hot cup of tea (even better if someone makes hot Pakoras to go with!) and enjoy.
To the non-Indian friends, may be a hot coffee and some chicken nuggets (or soy nuggets!) and winter days.
To the couple of readers who were disappointed! Well the whole point behind these stories is to capture the life as it flows. The climax is in the journey itself.

Malgudi Days by R.K. Narayan offers the reader a wonderful chance to experience the ordinariness and pleasant magic of life on the Sub-Continent.

This collection of short stories provides an array of vantage points from which the reader can consider Indian life. While meant to be tongue-in-cheek commentaries or light hearted reflections on the social and political realities of India, Narayan doesn't fall short of capturing and relaying a truly authentic feel.

Personally, this book made a wonderful traveling companion as I toured the South of India. The details of the stories were more manifest in the environment around me than in any other part of the country, yet the story themes were in no way constrained by locale. They very much hold a universal appeal.

If you enjoy the writing of Gabriel Garcia Marquez, then you will enjoy the work of R.K. Narayan.

I was looking for a hard to find book in large print. I was shocked to see that they were selling a new edition for about $1.57. I was skeptical but for the price took a chance and was amazed to find that I received exactly what was described in perfect brand new condition. The delivery time was also very, very fast. I'll check out their WEB site in the future for more extraordinary values.

Craig Heard, New York, NY

It was such a pleasure to read these stories. Each story grabs you quickly, and makes its narative thrust accessible. His stories don't stray from his simple narratives; there is very little excess or digression.
The stories are very personal and moral without being preachy. He knows how to capture people's moral ambivalence without judging them or resorting to stereotypes.
I found this book to be both an easy read and very moving.

Malamud does three or four tricks in his fiction well, and here he does each one to utter perfection. And when taken together, this collection of stories almost transcends Malamud's normal limits: the stories are compressed, short, and below the surface, charged with almost unbearable tension. Unlike other collections of stories (or when you read too many Malamud stories) Malamud does not parody himself in the Magic Barrell. Everything is where it is supposed to be, and works like a well oiled machine. It is a shame that (as of writing this) only eight people have reviewed this masterpiece of a short story collection. In Roth's The Ghost Writer, Zuckerman explains that the world's morality has already passed by the E.I. Lonoff's (a character based on Malamud). Seems Roth was correct... and this is true even more today, thirty years after the publication of The Ghost Writer. We no longer live in Malamud's world, and it is a shame.

These stories about New York, even when read fifty years later by someone like me from a totally different demographic, in Los Angeles, are still relevant. There are universal self-loathing themes for all immigrants, at all times. I wouldn't call it immigrant lit, but it's more like human diaspora lit, the transience of people, and how people make sense, however limited, of the world around them. Strongly recommend. Malamud is able to make writing about trash untrashy, but not in a falsely glorifying way, but in a humanizing way. These are real short stories, not failed novellas.

These stories are pervaded with a certain sadness and disappointment, a sense of life as largely a trial in suffering. They are also however deep in a kind of quiet beauty, a unique language of slightly Yiddishized American colloquial restraint. The title story, and the most famous one tells of the hopes and disappointments of poor Jews seeking to find their ' bashert' their destined mate. It touches upon the world of tormented souls selling illusions to themselves and others. It really moves us with the sense of how the dreams of life turn bitterness into greater bitterness, with longing disappointment beauty. These stories are for those who are willing to read and take inspiration from the sadnesses of life, that nonetheless enrich our human meaning.

The story, in general, was about the lives of Bengali migrants, how they fit in their new surroundings, and how their children reacted to Bengali traditions and customs. It is quite similar to a few other books before it. But The Namesake is written well and reading it is every bit as enjoyable as watching a movie. It is a little "chick-lit" but I liked it.

The Namesake is a compelling examination of the immigrant experience, but it's more than that. Lahiri does a beautiful job of letting her characters slowly unfold over the course of the story. The characters and the overall feel of the story stayed with me for a long time afterwards. I would definitely read more of Lahiri's work.

This is a great story of culture, family, and identity which are some important elements to most human beings and Lahiri brought that to this book. Novel centers around a family who lives in a different culture than their own and is forced to accept something different and apply to their lives. Good writing from the author and very entertaining story.

"What's in a name? Everything, if you find to whom it belongs." - Jonathan Gardner

From Nikolai Gogol's short story "The Overcoat":

"The reader should realize himself that it could not have happened otherwise, and that to give him any other name was quite out of the question."

The second quote, seemingly simplistic, is yet prophetic to "The Namesake" and only when one reads the entire novel can one derive the pleasure of knowing what it truly means in relativity to the story. It is a befitting quotation that is included in the first few pages of author Jhumpa Lahiri's second novel.

The beginning chapters pit Ashoke Ganguli in the frigid Northeast of Boston, MA, the young Bengali man having survived a horrible train wreck and seeking a clean slate in the Americas with his young bride Ashima. After discovering they are expecting their first child, Ashima eagerly anticipates a letter from her grandmother, who has indicated that she will choose a name for their baby. When her letter never arrives and Ashima receives word from her family back in Calcutta of her grandmother's failing health, she is beside herself and with no name in the wings for their new son, Ashoke dubs his firstborn Gogol after a favored Russian author (Nikolai Gogol). Gogol soon resents his father's choice once he is of school age and he will not even begin to understand the reason behind it for many years, the utter significance and emotional attachment his namesake holds.

In having just finished the book this very day that I write my critique, I take from Lahiri's tale of Gogol is that no matter whether we abandon or embrace tradition, it will not guarantee our happiness. I also believe that it forewarns that when we wage a constant war against ourselves, no relationship we have - be it familial or romantic - will endure. However it comes across to those who read it, Lahiri's writing style is simplistic yet thought provoking. Sometimes one cannot be sure of the motivation of certain characters, but in the end all will be seen as either victims or victors of their own circumstance.

(WARNING: HERE BE SPOILERS) Gogol experiences both the American way and the Indian way to equal degrees and has romantic relationships which at first ignore Bengali tradition and values and predictably disintegrate, particularly when cultures begin to clash in unexpected ways. But even when he falls in love with and marries a fellow Indian-American and childhood acquaintance, the commonality of their cultures and families still cannot placate their bewildered and embittered souls. (END SPOILERS)

Lahiri, now 40 and married with two children, (who was 36 at the time "The Namesake" was first published) can now be proud of her "pet name"; this name not only adorns her publications but also her 2000 Pulitzer Prize for her debut novel Interpreter of Maladies. Her inspiration for Gogol was found in her own childhood when her teacher decided to use her "pet name" for its easier pronunciation instead of her "good name" (an event that she relives through Gogol when he first goes to school). Good names and pet names are a Bengali tradition that is difficult to understand. Good names are your given name, the one that appears on your birth certificate and other documents of importance, such as driver's license, social security card and college degrees (Lahiri's good name is Nilanjana Sudeshna). Pet names are names spoken only by those who know you best - your family. She is quoted as saying about her teacher's decision: "I always felt so embarrassed by my name; you feel like you're causing someone pain just by being who you are." Her struggle with her identity would be the brainchild for "The Namesake" and Gogol Ganguli a portrayal of Lahiri herself and her inner turmoil.

Gogol spends the entirety of the novel resisting his identity and his name, even going so far as to legally change it to demonstrate his distaste for not only his strange moniker but also the life his parents chose for him. It is only when he discovers the reason behind it and embraces it that he experiences the inner peace he has been seeking all along. Perhaps this is a message to Lahiri herself and others who have felt the same inner conflict. To quote once again in the words of a renowned Indian author and erstwhile philosopher:

"Happiness is a continuation of happenings which are not resisted." - Deepak Chopra

I loved this book that I will absolutely read everything else she has ever published and everything else that she will ever write. Thank you Jhumpa Lahiri!

Beautifully written, captivating characters, great story. So wonderful my husband read it after I did and felt the same.

Immigrants of all sorts have built America, and this book profiles an Indian immigrant family. The challenges they face are described with warmth and sensitivity as they confront the larger culture around them.

It's easy to imagine minor substitutions, and this being the story of nearly any immigrant community, struggling to maintain their connection to their homeland and instill that link in their children who grow up as Americans first, and of the immigrant community second.

I highly recommend this book - and would advocate its use in explaining to high school students the importance of America as a "salad bowl" where groups maintain their individual identity yet become part of the cohesive whole, and not a "mixing pot" where the individual ingredients lose their identity.

I had high expectations for this book, but it was just blah. It's superficial, with no insight behind it. The author seemed to spend more time dreaming up outfits for her characters than substance for their personalities. I'm sorry to say this book was kind of a waste of time; it's the kind of writing you might appreciate to have, in a magazine, while you're waiting at the dentist's office...not something you'd like to see dragged out into a whole novel and paraded as literature. Blah.

You've heard this story before. Junot Diaz, Julia Alvarez, Anzia Yezierska, and Edwidge Danticat are just a few of the authors who have told their own versions. The story they all have in common: The immigrant experience in the United States. Each of the above authors tackles this subject from a different enthnographic perspective, but the pull between the old (native) culture and the new (immigrant) one is always present.

Pulitzer prize winning author Jhumpa Lahiri adds to this conversation with "The Namesake" (her first novel which was a follow up to her short story collection "Interpreter of Maladies" which won the Pulitzer): the epic story of the Ganguli family's arrival and assimilation into the world of the United States.

The story begins when Ashoke and his wife (of an arranged marriage), Ashima, come to Massachusetts where Ashoke is a graduate student at MIT. The year is 1968. At the beginning of the novel Ashima is pregnant with her first child, a son.

In Bengali culture, it is common for people to have a formal name and a pet name (nickname). Ashoke has no problem coming up with a nickname for their son: Gogol. Unfortunately, due to a variety of mishaps and misunderstandings, the formal name proves harder to settle on and even harder to enforce. So Gogol Ganguli grows up with only a pet name--one that is not American, or Indian, or a first name.

No one really cares that Gogol's name is so unique, except Gogol whose anxiety over his name is bothersome enough that no external taunts are necessary. Gogol eventually resolves to rename himself, but not after learning the life-changing story that inspired his father give Gogol his name in the first place.

Despite the vast period Lahiri writes about, the novel's focus remains narrowly focused on the characters, especially Ashima and her son. Despite the authenticity that Lahiri brings to her main characters, certain scenes remain naggingly artificial--feeling simultaneously improbable and contrived.

Lahiri's writing here (I've yet to read her short stories) is beautiful without being pretentious or overly self-aware. The story feels authentic and compelling despite the fact that so many of the cultural references remain worlds away.

Even more interesting is the fact that I enjoyed almost the entire novel despite having a strong dislike of Gogol and several of the secondary characters. (I'd say more about what this means in terms of the writing style/skill but I still haven't figured out how that happened.) Despite my misgivings throughout the novel, Gogol does work toward redeeming himself by the end of the story.

Regardless of my nitpicks, "The Namesake" remains a must for anyone interested in the immigrant experience in America. Lahiri's narrative hearkens back to Jeffrey Eugenides' "Middlesex" which has a similar scope, tracing three generation's relationship with Detroit.

"The Namesake" deals with common themes but, as any good book should, Lahiri makes these subjects new and original with her unique characters and wonderful writing.

Beautifully and gently written, this book holds and builds your interest as you read on. It is a study, on one level, of people from India in the USA; on another level, it is a wonderful study of the life history of families everywhere. Highly recommended (and I am completely baffled by the low-star review here). The movie is also excellent, but I think you must read the book first, because the movie cannot capture all the nuances of the fine writing in the book. Her volume of short stories, which I read after this, is also a joy, and I eagerly await her next book.

It's probably not good for the anthology that the piece I most enjoyed was Amy Tan's introduction; I thought that by itself was worth checking the book out. The actual stories left me wanting something more, with the exception of "The Sun, The Moon, The Stars" by Junot Diaz, "Real Estate" by Lorrie Moore, "The 5:22" by George Harrar, and an honorable mention to Heidi Julavits' "Marry the One Who Gets There First". These stories all combined great writing with great insight, all in the framework of good narrative flow. The others--and I confess to not reading several--lacked something. Annie Proulx's piece sucked me in, and had vivid, sparkling dialogue and great writing. However, it failed to deliver on story. When I came to the end, enchanted by all the previous elements, I felt cheated and angry at it's sloppy conclusion. Even Stephen Dobyns' "Kansas" left me flat, and Dobyns never fails to impress me. Overall, this is a good collection, just not a great one by any means.

I am a big fan of the Best American Short Stories series, but this one was a huge diappointment. I like stories that have some meat; they should resonate with depth a long time after being read. This collection offers few such stories. Then again, I wasn't expecting much more from Amy Tan. Try '98 or '00 instead.

I found this to be an excellent, thoughtfully assembled collection of stories. I must especially disagree with the reviewer who felt that having a b writer like Pam Houston in a collection with Rick Bass ammounts to a literary injustice. Quite to the contrary, Houston's story is the best in the book and bears re-reading. (And, if you've checked out John Updike's Best Short Stories of the Century, you'll note that her story was one of the few tales from the nineties to be included.) This is a slow, collection, certainly, which may turn off some readers. But I've thoroughly enjoyed it.

Every year I anxiously look forward to the arrival of the newest addition to my favorite book series, and every year my patience is rewarded and my appetite for a wonderful collection of short stories is entirely satisfied... that is until this 1999 edition of The Best American Short Stories. The compilation of short stories selected by Amy Tan this year has sadly disappointed me. Furthermore, my disappointment is escalated when one must consider the fact that Amy Tan is among my favorite authors. The combination of my favorite book series and one of my favorite author would presumingly produce a definite great edition yet sometimes the surest things are the most unforeseen.

The Best American Short Stories has always been a reliable and constant supplier of great contemporary work and uniquely distinctive tales. Stories that are far from typical but pleasantly uncanny and sometimes pleasingly bizarre. Stories that do not have a simple introduction, climax, and then resolution but stories that create their own course. Stories that you find yourself still thinking about days later in the shower, still trying to understand what exactly you comprehended. Yet instead what I found was a pretty traditional and conventional assortment of stories. I am not saying that these stories are particularly bad stories because they are not, it is just the straightforward fact that they are not as daring or come near to being as refreshing as their predecessors. I found many of her selections boringly light even when dealing with subject matters that are all but light. They tell their story and that is all. Everything felt so laid out and revealed that there was no room for analyzing or dissecting. Many of the stories were exactly as what appeared and nothing else, nothing left underneath to discover. They reminded me of the stories the entire class would read as one in the eighth grade and everyone would reach the same obvious conclusion of what the moral and purpose of the story was as the teacher nods her head to provide assurance.

There is still a couple of decent stories in this entire book (such as Pam Huston's The Best Girlfriend You Never Had) that renders the two stars given but in no way is that an endorsement to spend your money on two short stories. Instead, I recommend you simply visit you nearest bookstore, lean against a bookshelf and spend 15 minutes reading those two stories. Once you are done, place that book back on the self because that is where it belongs. I never thought I would be saying that about a book from this series but hopefully this is the first and last time I will have to. And hopefully this is just the black sheep in this family of over-achievers.

P.S.
In the end, I simply realized that perhaps a great novel writer should stick to novels and not picking short stories.

Amy Tan has done a good job selecting 1999's batch of stories for "Best American Short Stories"; I've read better volumes, but I've also read worse. My favorite story was Tim Gautreaux's "The Piano Tuner," a hilarious, unnerving tale about the advantages and disadvanages of "fine-tuning" another person's character through the use of drugs or other modern methods. The next-best story, in my opinion, was Chitra Divakaruni's delightful and wistful "Mrs. Dutta Writes a Letter," another story about trying to change one's character in order to fit in with difficult surroundings, and the limits on one's ability to do so. Finally, my third-favorite selection was Rick Bass's "The Hermit's Story," a tale of rugged individualism and survival in a winter setting that ends with a wonderful image involving fire and a frozen lake, an image I won't spoil for you here.

This volume is certainly the most diverse edition of the series so far in terms of its authors' racial and cultural backgrounds--at least a third of the stories are by non-white authors or have non-white main characters. As Amy Tan notes, however, what matters more than racial or cultural diversity is diversity of voice and experience. I found more in common, for example, between "The Piano Tuner" and "Mrs. Dutta Writes a Letter," in both stories' focus on the theme of changing one's character and learning to adapt to unfamiliar surroundings, than I did between "The Piano Tuner" and, say, Annie Proulx's more impressionistic "The Bunchgrass Edge of the World" (another story about rural Americans); or between "Mrs. Dutta Writes a Letter" and Jhumpa Lahiri's ominous "The Interpreter of Maladies" (another story about Indian families). In any event, this year's edition provides plenty of diversity of both background and voice, and is a solid addition to the "Best American Short Stories" series.