When I started my search for a published piece this week, I did the usual sifting through my bookshelf, which has recently become such a disorganized stacking of books that, even if I know what I want before I begin looking, it often takes a few attempts to locate anything. This explains why it’s taken me so long to share one of Daniel Orozco’s stories here. That, and the fact that my copy is a simple, black hardback with nothing but the title, Orientation, across the front.
Daniel Orozco is a bit of an anomaly. When you go to research him, there isn’t a whole lot out there. He’s known for his short stories, but has been working for the past several years on a novel of extraordinary length, so he writes in the extremes. His writing has been published in The Best American Short Stories, The Pushcart Prize Anthologies, and a few other magazines. His list might be short, but he is a writer who still impacts the way I look at my own short fiction.
Today we’re looking at the title story from his collection, “Orientation.”
- How does the narrator’s tone and perspective impact the story? As a result, is the reader more detached or drawn in?
- What does character development look like in this story and how does it serve the story’s purpose as a whole?
- Is there any conflict in this story? If so, what? If not, why and is that okay?
If you get a chance, I highly recommend picking up all of Orientation and reading it through. I promise it won’t take you more than an afternoon, because you’ll want to see where the hell Orozco takes you.