In 'Vanishing' Willis Shows Her Gift for Creating the Miniature Worlds Short Stories Demand

Deborah Willis

Deborah Willis’ work invites comparisons to Alice Munro in her examination of humanity in the details, the places where dailiness intersects with seemingly small events that ultimately create landslides.


Publisher: Harper Perennial
Length: 285 pp
Author: Deborah Willis
Price: $13.99
Format: paperback
Publication Date: 2010-08

In Falling through Space, Ellen Gilchrist opines that nobody should attempt writing prose before aged 40. This serves as a neat appendage to Flannery O’Conner’s famous remark that anybody who survives past age 16 has a lifetime’s worth of writing to mine.

For years I threw my lot in with Gilchrist—O’Conner was right, of course, but few have the maturity or range to write well before the wisdom of middle age settles in, with its attendant scratches, dings, shatterings, recoveries. Now, past 40 myself, I have reason to reconsider. There are simply good writers and bad writers. Their source material may never change, but the way they mine it, if they are talented, will deepen with time.

All of this to say that Deborah Willis doesn’t need to wait until she’s 40. She’s only 28. Her source material is eponymous: Vanishing. Each story bears the mark of either a departed loved one or the protagonist, often stuck in rural Canada and longing for escape. Most of the protagonists are people in their 20s recalling childhood events. Set in Canadian villages like Nanaimo, Port Hardy, and Victoria, Willis’s work will inevitably invite comparisons to Alice Munro. For once the analogy is apt, for Willis is reminiscent of Munro in her relentless examination of humanity in the small details, the places where dailiness intersects with seemingly small events, creating landslides.

In “Vanishing”, the opening story, the daughter of famous Jewish playwright recounts his sudden disappearance through a series of vignettes, moving the reader between past and present. With deftly allusive sentences, Willis gradually reveals why the man abruptly left his wife and daughter, his life as an observant Jew, and his writing, never to return.

Mysterious young women are often the vanishers. In “Weather”, Edith, smoking with one hand and grasping her inhaler in the other, appears just long enough to upend a father/daughter relationship. In “This Other Us”, Karen commands helpless adoration from her roommate and her lover, even as she casually comes and goes. Simone, of “And the Living is Easy”, thoughtlessly destroys a family.

There are numerous dead women as well, mostly wives, a few mothers. Some of these mothers, like Katherine, of “The Fiancée”, are deeply disappointed in life and take pains to convey this to their daughters. Jilly, in “Romance Languages” is one such child. Her single mother works as a hairdresser, a fortune teller, a waitress, anything to fill the paper envelopes marked “food”, “cigarettes”, and “Jilly”. Jilly will grow into Gillian, acquire four languages, and move to Europe, never completely escaping her embittered mother.

Men have sexual power but are otherwise weak, victims of these women and their destructive capacities. The narrator of “Rely” is a widower paralyzed by his daughter’s drug addiction. Karen’s lover Lawrence, of “This Other Us”, is bereft when she departs with another man, mutely, gratefully forgiving when she returns. Alex, in “And the Living is Easy”, reflects he doesn’t know Simone, his wife, at all.

Willis has a gift for creating the miniature worlds short stories demand. The characters are flawed, pained, believable in their kindnesses and shortcomings. They live in apartments with cracked linoleum flooring, shared spaces with dirty kitchens, trailers. They are hairdressers, work at cosmetic counters and video shops.They floss their teeth, they clip on earrings. Money is often tight, unconditional love even tighter.

Interestingly, though most of the stories are partly set in the present, they lack technological accoutrements: nobody uses a cell phone, texts, or fiddles with a laptop. This emphasis on character is enormously refreshing. After all, how you maintain your aquarium after your wife’s death says a lot more about you that what sort of computer you use.

It’s a cliché to say Willis is a fine young talent to watch, yet it’s true. The real deal is often buried these days beneath so much garbage that locating true talent increasingly feels a matter of luck. In this case, then, a book I chose entirely at random to review was just that: great good luck.

Now I pass this luck on to you, lovers of literature and short fiction. Go to an independent bookstore and buy Vanishing. If they don’t carry it, ask them to order it for you. They will. Then read it, feel fortunate, and share the book with a friend.


In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.