fiction

In 1959, a thirty-one-year-old writer named Cynthia Ozick was hard at work, in her determined tortoise-like way, on an ambitious novel that, seven years later, would be published as Trust; and also in 1959, a young, in-your-face writer named Philip Roth published Goodbye, Columbus, and Five Short Stories. Not since Norman Mailer set the literary world on its ear with The Naked and the Dead (1948) had a collection of stories so changed the American cultural landscape. Roth was surely the hare of Aesop’s tortoise-and-hare fable, a young man out of the literary gate before most of his competitors had made it to the track. Not only did Roth speed off with what, in those days, was a prestigious National Book Award, but he also set into motion debates about tradition, responsibility, and the individual artist that would dog his heels from then on—book after book, decade after decade.

Coachy, to whom Papa Toussaint had given the two letters for Paul Louverture, led their way south from Point Samana toward Santo Domingo City. Coachy had been to that place before, not so long ago, when Papa Toussaint had sent his army to the Spanish side of the island for the first time, but Guiaou had not. He had not been to Point Samana either before that day, when Papa Toussaint had brought them to look at the ships of the French.

This issue owes its origins to Michael Chabon—though I'm sure he doesn't know it. Chabon stirred controversy last year by confessing in his introduction to McSweeney's Mammoth Treasury of Thrilling Tales that he had grown bored with "the contemporary, quotidian, plotless, moment-of-truth revelatory story."