The Lonely Voice

1. What is The Lonely Voice: A Study of the Short Story by Frank O’Connor about?

• Exploration of the Short Story Form: The book is a critical study of the short story as a unique literary form, distinct from the novel and other genres.
• Focus on the “Submerged Population”: O’Connor argues that the short story typically centers on characters who are outsiders or members of a “submerged population group,” rather than traditional heroes.
• Comparative Literary Analysis: The book examines the works of major short story writers such as Gogol, Turgenev, Chekhov, Maupassant, Joyce, Hemingway, and others to illustrate its points.
• Blend of Criticism and Personal Reflection: O’Connor combines literary criticism with personal insights, drawing on his own experiences as a writer and teacher.

2. Why should I read The Lonely Voice by Frank O’Connor?

• Unique Perspective on Short Stories: O’Connor offers a distinctive and influential theory about what makes the short story different from other forms, especially the novel.
• Insight for Writers and Readers: The book provides valuable advice for aspiring writers and deepens readers’ appreciation of the short story’s craft and purpose.
• Engaging Literary Criticism: O’Connor’s style is accessible, witty, and passionate, making complex ideas enjoyable to read.
• Historical and Cultural Context: The book situates the short story within broader literary and social movements, enhancing understanding of its evolution.

3. What are the key takeaways from The Lonely Voice by Frank O’Connor?

• Short Story’s Focus on Loneliness: The short story is characterized by its focus on isolated, marginalized, or “submerged” individuals, rather than societal norms or heroes.
• Form Follows Content: In short stories, the length is determined by the material and form, not by external conventions or expectations.
• Contrast with the Novel: Novels often depict a “normal” society and a central hero, while short stories remain on the fringes, exploring the lives of outsiders.
• Artistic and Moral Dimensions: O’Connor sees the act of writing short stories as having a moral dimension, challenging both writer and reader to confront human loneliness and difference.

4. How does Frank O’Connor define the short story in The Lonely Voice?

• No Traditional Hero: O’Connor claims the short story “has never had a hero,” focusing instead on “submerged population groups.”
• Emphasis on Human Loneliness: The short story is marked by an “intense awareness of human loneliness,” often depicting outlawed or marginalized figures.
• Flexible Form: There is no essential form for the short story; each story’s structure is dictated by the needs of its content.
• Contrast with the Novel: Unlike the novel, which is about integration into society, the short story is about individuals who exist outside or on the fringes of society.

5. What is the concept of the “submerged population group” in The Lonely Voice?

• Definition: O’Connor uses “submerged population group” to describe the typical subjects of short stories—people who are outsiders, marginalized, or otherwise not part of the mainstream.
• Examples in Literature: He cites Gogol’s clerks, Turgenev’s serfs, Maupassant’s prostitutes, Chekhov’s doctors and teachers, and Anderson’s small-town dreamers as examples.
• Significance: This focus distinguishes the short story from the novel, which usually centers on more integrated or “heroic” figures.
• Moral and Social Implications: By giving voice to the voiceless, the short story becomes a vehicle for empathy and social critique.

6. How does O’Connor contrast the short story with the novel in The Lonely Voice?

• Societal Focus: Novels typically depict a “normal” society and a central character who interacts with it, while short stories focus on those outside the norm.
• Form and Length: The novel’s form is determined by its length, but in the short story, the length is determined by the form and material.
• Character Identification: Novels encourage reader identification with the protagonist; short stories often present characters with whom identification is difficult or impossible.
• Narrative Scope: Novels can encompass a whole life or society, while short stories capture a moment or a single, significant episode.

7. What advice does Frank O’Connor give to writers of short stories in The Lonely Voice?

• Focus on Exposition, Development, and Drama: O’Connor identifies these as the three necessary elements of a story, advising writers to ensure all are present.
• Let Form Follow Material: Writers should allow the story’s content to dictate its length and structure, rather than adhering to arbitrary conventions.
• Avoid Over- or Under-Preparation: Too much or too little exposition can weaken a story; the challenge is to provide just enough information for the reader’s moral imagination.
• Embrace the Moral Dimension: O’Connor encourages writers to see storytelling as a behavior with an essentially moral aspect, not just a technical exercise.

8. How does O’Connor analyze major short story writers in The Lonely Voice?

• Gogol and the “Little Man”: O’Connor credits Gogol’s “The Overcoat” with introducing the archetype of the marginalized protagonist.
• Chekhov’s Moral Subtlety: Chekhov is praised for his exploration of loneliness, venial sins, and the “false personality.”
• Maupassant’s Obsessions: O’Connor discusses Maupassant’s focus on sexual outsiders and the dangers of exploiting one’s subject matter.
• Joyce, Hemingway, and Others: The book examines how later writers like Joyce and Hemingway adapted and transformed the short story form, often moving away from the “submerged population” focus.

9. What are some of the most important quotes from The Lonely Voice and what do they mean?

• “In fact, the short story has never had a hero.… What it has instead is a submerged population group—a bad phrase which I have had to use for want of a better.”
  This encapsulates O’Connor’s central thesis about the short story’s focus on outsiders.
• “For the short story writer there is no such thing as essential form. Because his frame of reference can never be the totality of a human life, he must be forever selecting the point at which he can approach it…”
  O’Connor emphasizes the flexibility and experimental nature of the short story form.
• “The eternal silence of those infinite spaces terrifies me.” (Pascal, quoted by O’Connor)
  This quote is used to illustrate the existential loneliness at the heart of the short story.
• “One can put this crudely by saying that the form of the novel is given by the length; in the short story the length is given by the form.”
  O’Connor succinctly distinguishes the structural logic of the two forms.

10. How does O’Connor’s own experience as a writer and teacher influence The Lonely Voice?

• Personal Anecdotes: O’Connor draws on his own struggles and successes as a short story writer to illustrate his points.
• Teaching Insights: He shares practical advice and observations from teaching creative writing, emphasizing the challenges of defining and teaching the short story.
• Empathy for Outsiders: His background as an Irish writer from a “submerged population” informs his empathy for marginalized characters.
• Critical but Non-Systematic Approach: O’Connor’s method is intuitive and personal, often favoring insight and anecdote over strict theory.

11. What is O’Connor’s view on the future and limitations of the short story, according to The Lonely Voice?

• Ongoing Evolution: O’Connor sees the short story as a modern, still-evolving form, not bound by tradition or fixed rules.
• Loneliness of the Form: He notes that the best short story writers often try to escape the form’s inherent loneliness, sometimes abandoning it for other genres.
• Editorial and Market Pressures: O’Connor warns that commercial expectations (like arbitrary word limits) can harm the integrity of the short story.
• Enduring Relevance: Despite challenges, he believes the short story will persist as long as there are writers and readers interested in the fate of outsiders.

12. What practical methods or exercises does O’Connor recommend for aspiring short story writers in The Lonely Voice?

• Subject Before Treatment: O’Connor advises writers to focus first on the subject, summarizing it in a few lines before beginning to write.
• Distinguish Between Conte and Nouvelle: He encourages writers to decide whether their material is best suited to a single scene (conte) or a longer, more developed form (nouvelle).
• Draft and Revise Extensively: O’Connor stresses the importance of rewriting, often revising his own stories dozens of times.
• Balance Imagination and Restraint: He suggests “banking down” creative fire until the writer knows exactly what the story is about, to avoid digressions and unnecessary passages.