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Collected Stories

Overview

With the profound maturity and exquisite eye for detail that never failed to capture readers of her prize-winning novels, Carol Shields dazzles with these remarkable stories. Generous, delightful, and acutely observed, this essential collection illuminates the miracles that grace our lives; it will continue to enchant for years to come.

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Overview

With the profound maturity and exquisite eye for detail that never failed to capture readers of her prize-winning novels, Carol Shields dazzles with these remarkable stories. Generous, delightful, and acutely observed, this essential collection illuminates the miracles that grace our lives; it will continue to enchant for years to come.

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Editorial Reviews

From the Publisher
Segue is, as one would expect, a masterful and engaging piece of writing, and happily it works almost as well as a short story as it would have had circumstances permitted it to be the beginning of a longer, finished project…. With the arrival on the shelves of this handsomely designed and important collection, we her readers can experience once again the privilege of stepping into Carol Shields’s brilliantly rendered, many-faceted world with all its dramatic contrasts of private light and darkness.”
The Globe and Mail

“A grand gift for a true Shields fan.”
Toronto Star

“No writer in the English-speaking world has written more eloquent, witty and graceful sentences than Carol Shields…. If the purpose of fiction is to break up the frozen seas within us, as Kafka once said, spending a few days in the company of Shields’ stories allowed me to re-experience the poignancy of human life and, at the same time, its undeniable comedy, its sensuality and beauty.”
—Susan Swan in The National Post

Praise for Carol Shields's short stories:
"Carol Shields's short stories have given me happiness, not just pleasure. They're prismatic; they delight at first by the clear and simple elegance with which they are made, then there is something so bountiful and surprising, like beautiful broken lights."
—Alice Munro

"Every story in this collection is a small, glittering masterpiece."
National Post

"A radiant gift, a brilliant archive."
—Winnipeg Free Press

"Wry, witty, wise and fiercely intelligent."
—Janette Turner Hospital

"These poignant stories revel in the ordinary, with a few side-trips to the sublime."
Washington Post

"Intelligent, provocative and entertaining."
The New York Review of Books

From the Hardcover edition.

Ann Hulbert
Taken together, Shields's stories risk seeming like curiously weightless exercises -- lightly parodic postmodern turns. Yet this eclectic bundle of fragments also serves to highlight her novelistic gift and heft. When Shields stitches together such vivid patchworks of lives in her longer fiction, she manages to convey the inadequacy, and also the urgent necessity, of words to give us a grip on our discontinuous selves -- and a glimpse into the ultimately unknowable worlds of others. Shields's novels do tend to end happily. But they are also haunting because she has made us aware that ''the arabesque of the unfolded self'' (a very Shieldsian phrase from ''Absence'') is always a dance over an abyss.
— The New York Times
Publishers Weekly
Shields, who died in 2003, was best known for her novels (The Stone Diaries; Unless), though she published three collections of stories over as many decades, here elegantly gathered and introduced by fellow Canadian and friend Margaret Atwood. Appearing first is her last unpublished tale, "Segue," about an aging couple in failing health-he a famous novelist, she a writer of sonnets-who grow apart as they take "responsibility for [their] own dying bodies." The story serves as a poignant tribute. Overall, Shields's touch is gorgeously light, her tales capturing brief, evanescent moments in the busy lives of couples, mothers and lonely wives. If a few entries seem too brief or lack development, "Hazel" (from The Orange Fish) demonstrates all the elements of Shields's mastery: an ordinary widow, perhaps too polite for her own good, finds a satisfying job as an itinerant kitchen demonstrator and discovers that her timidity and self-effacement can actually be turned to her advantage. From the same collection, the story "Collision" draws on Shields's extended travels and is set in a "small ellipsoid state in eastern Europe," where two lonely people of exotically different background and language collide on a rainy night; the story pursues a separate "biography" of each of the lovers with "every narrative scrap... equally honored." In "Edith-Esther," a story from Shields's last collection, the author prophetically portrays the eponymous protagonist, an 80-year-old novelist, as a "rare bird," pestered by her biographer for "some spiritual breeze" he can put into his book about her. She resists, but the biographer reworks her life the way he wants and in the end, to her dismay, refashions her work as uplifting-the last thing she intended it to be. Uplifting or not, this is a volume full of grace and wisdom. (Feb.) Copyright 2005 Reed Business Information.
Library Journal
This author received wide notice during her lifetime, through both healthy sales and critical recognition, the latter including the Pulitzer Prize (for The Stone Diaries). This posthumous publication of her complete short fiction will be welcomed by her many readers and will provide a good introduction for those not familiar with her work. The collection opens with "Segue," the only story not published previously, in which a thoughtful woman maintains balance in the post-9/11 world by composing a sonnet every two weeks, one line per day. Writing's solaces and frustrations appear often: in the amusing "Absence," a sticky keyboard forces a writer to produce a complete piece without the letter i; in "A Scarf," a successful author learns an ironic lesson about being true to one's inner self. Many stories examine the quirks of everyday life, where mystery may lie just behind the ordinary ("Mrs. Turner Cutting the Grass," "Dolls, Dolls, Dolls, Dolls"). Others explore the seemingly minor domestic crises that can discombobulate relationships ("Accident," "Dressing Down," "Hinterland"). All depict distinctive moments in a variety of settings, with moods ranging from nostalgic to farcical. A moving introduction by Margaret Atwood honors Shields's life and writing. Recommended for most collections. [See Prepub Alert, LJ 9/15/04.]-Starr E. Smith, Fairfax Cty. P.L., VA Copyright 2005 Reed Business Information.
Kirkus Reviews
The collected contents of the late (1935-2003) Canadian author's three published story volumes. Various Miracles (1985) showcases Shields's affectionate scrutiny of marital and familial experience, in deft portrayals of a woman's life understood by assembling random "Scenes," a violinist who escapes through music her family's claustrophobic embrace ("A Wood"), a lengthy friendship traced through exchanged Christmas card messages ("Others") and a house-hunting couple's willed flight from the memory of a child's death ("Fragility"). The Orange Fish (1989) focuses mostly on women's imaginative responses to quotidian dilemmas, notably in the tale of a middle-aged couple's Parisian second honeymoon ("Hinterland"), which brings them separate visions of their individual and shared vulnerability and mortality. Shields's fondness for fabulism ("The Harp") and explorations of writers' lives dominates Dressing Up for the Carnival (2000), distinguished chiefly by revelations of how significant meanings inhere in mundane things (the title piece, "Soup du Jour"), and by the comic tale of a resolute nudist ("Dressing Down"): a rich story displaying the rangy inventiveness more prominent in her popular novels (the 1995 Pulitzer Prize-winning Stone Diaries, etc.). Shields the storyteller is a somewhat lesser writer, but she's always worth reading.
new york sun
“Transcendent…Shields’s stories are made of the fresh air and sunshine of comfortable daily life.”
Cleveland Plain Dealer
“A revelation and a delight.”
O magazine
“Marvelous…This big, beautiful collection should win Shields the devoted readership she deserves.”
Rocky Mountain News
“Surprising, daring, and varied...Shields’ Collected Stories makes you feel more keenly the premature loss of her tremendous talent.
Boston Globe
“A joyride…One delightful turn after another.”
Seattle Times
“Full of wonder and serendipity…the stories are truly remarkable, combining great good humor with poignant observation.”
Providence Journal
“A master storyteller of complex and surprisingly nuanced life stories.”
New York Sun
“Transcendent…Shields’s stories are made of the fresh air and sunshine of comfortable daily life.”
Washington Post Book World
“A magisterial compilation... Shields has left us with an intricate literary map of human relationships.”
Charlotte Observer
“Genius…[Shields] is one of our strongest voices in literature.”
Denver Post
“Shields writes about whimsy, happenstance and serendipity, tragedies that really aren’t, and clean, cutting prose about things that really hurt…Amazing.”
Miami Herald
“Sublime...Original…Superb…These surprising, effervescent stories can only help to ensure the power of [Shields’] legacy.”
O Magazine
"Marvelous…This big, beautiful collection should win Shields the devoted readership she deserves."
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Product Details

  • ISBN-13: 9780679313274
  • Publisher: Random House of Canada, Limited
  • Publication date: 8/23/2005
  • Pages: 608
  • Product dimensions: 5.10 (w) x 7.90 (h) x 1.50 (d)

Meet the Author

Carol Shields
Carol Shields was born in Chicago and lived in Canada for most of her life. She is the author of three short story collections and eight novels, including the Pulitzer Prize — winning The Stone Diaries and Larry’s Party, winner of the Orange Prize.

Biography

Carol Shields's characters are often on the road less traveled, and the trip is never boring. She has written about a folklorist, a poet, a maze designer, a translator, even other writers -- appropriate professions in novels in which characters struggle to find their own paths in life.

Shields often focused on female characters, most notably in The Stone Diaries, her Pulitzer Prize-winning novel documenting the birth, death, and everything in between of Daisy Goodwill. Goodwill's story is told over a century, in various voices, featuring Shields's wry humor and her ability to convey what she has called "the arc of human life."

But don't pigeonhole Shields as a "women's writer." "I have directed a fair amount of energy and rather a lot of rage into that particular corner [of the] problem of men and women, particularly men and women who write and how women's novels are perceived differently from men's," Shields said in a 2001 interview. In 1997's Larry's Party, she swapped genders, writing from the perspective of a male floral designer who discovers a passion for mazes.

Unafraid to experiment with genres, Shields wrote an epistolary novel (A Celibate Season, coauthored with Blanche Howard), a sort of "literary mystery" about the posthumous discovery of a murdered poet's genius (Swann), and short stories (collected in Dressing for the Carnival and other titles). Though she often covered serious topics, she rarely did so without humor. Her novel of mid-life romance, Republic of Love, was called by The New York Times a "touching, elegantly funny, luscious work of fiction," an assessment that could be applied to the bulk of her work.

Shields changed her viewpoint yet again for Unless, but the circumstance was a tragic one. The book, which resurrects the main character from Dressing Up for the Carnival's "A Scarf," was written during the author's battle with breast cancer. "I never want to sound at all mystical about writing,'' she said in a 2002 interview, ''but this book -- it just came out." Though not touching on her own illness, Shields did what she had always done -- took her own questions and lessons, then used them to produce a story that speaks its own truth.

Shields passed away on July 16, 2003; she was 68.

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    1. Also Known As:
      Carol Ann Warner
    2. Hometown:
      Victoria, British Columbia, Canada
    1. Date of Birth:
      June 2, 1935
    2. Place of Birth:
      Oak Park, Illinois
    1. Date of Death:
      July 16, 2003
    2. Place of Death:
      Toronto, Canada

Read an Excerpt

Something has occurred to her – something transparently simple, something she’s always known, it seems, but never articulated. Which is that the moment of death occurs while we are still alive. Life marches right up to the wall of that final darkness, one extreme state of being butting against the other. Not even a breath separates them. Not even a blink of the eye. A person can go on and on tuned in to the daily music of food and work and weather and speech right up to the last minute, so that not a single thing gets lost.
—From The Stone Diaries

Segue

Something is always saying to me: Be plain. Be clear. But then something else interferes and unjoints my good intentions.

Max and I were out yesterday morning, Sunday, a simple enough errand in our neighborhood. We “sallied forth” to buy a loaf of good seed bread and a potted plant, chrysanthemums in our case, with the smashed little faces that our daughter so admires, that bitter bronze color, matching the tablecloth she was sure to be laying right that moment out there in Oak Park. Eleven o’clock; my husband Max and I would be expected at half past twelve. We always arrive carrying a modest gift of some sort.

There, at the market, stimulated, probably, by the hint of frost in the air, I felt a longing to register the contained, isolated instant we had manufactured and entered, the purchase of the delicious hard-crusted bread, the decision over the potted plant – this was what I wanted to preserve. But an intrusive overview camera (completely imaginary, needless to say) bumped against me, so that instead of feeling the purity of the coins leaving my hand, I found myself watching the two of us, a man and a woman of similar height, both in their middle sixties, both slightly stooped – you’d hardly notice unless you were looking – and dressed in bright colors, making a performance of paying for their rounded and finite loaf of bread and then the burst of rusty chrysanthemums.

Wait a minute. Shouldn’t there be a grandchild in this picture, a little boy or girl staying over with Nana and Poppa in downtown Chicago for the weekend? Well, no, our aging couple has not been so fortunate.

Our Sunday self-consciousness, the little mid-morning circle around Max and me, was bisected by light and dark. The day bloomed into mildness, October 7, one year and one month after the September 11 tragedy – event, spectacle, whatever you choose to call it. Max is a well-known Chicago novelist – he both loves and hates that regional designation – and he was, of course, spotted by other Sunday morning shoppers. That’s Max Sexton. Where? Over there. Really? A little buzz travels with my husband, around him and above him, which, I believe, dishes out the gold dust that keeps him alive. To be noticed, to be recognized. With his white beard, white swifts of soft hair swept backward, his old-fashioned, too-large horn-rimmed spectacles, he is a familiar enough sight in our immediate neighborhood, and – allow me to say – in the national journals too, even to the point that he has been mentioned once or twice in the same breath with the Nobel Prize (as a dark horse, the darkest of horses). Not that we ever speak of this. It does not come up, we forbid it, the two of us. He has twice been nominated for the Pulitzer – we don’t speak of that either.

There we were, yesterday morning, a fine Sunday.

Accompanying the novelist Max Sexton was his wife of forty years – me – whose name is Jane; I had my right arm crooked loosely through the great author’s blue nylon jacket sleeve. Plain Jane. Well, not quite, God be thanked. My very good scarf gives me a certain look, not just its color, but the fact that it was knotted high up on the throat. Jane, the wife, the poet and editor, soon (tomorrow) to become past president of the American Sonnet Society – now known as Sonnet Revival – she with her hair in a smooth white pageboy and her reasonably trim body, c’est moi. Notice the earrings, handmade, Mexican. Wouldn’t you just know! Oh God, yes. Yesterday, at the Andersonville market in Chicago’s near-north side, Jane Sexton was sporting an excellent cashmere poncho-thingamajig, deep rose in color, and well-fitting black pants and expensive boots, which she always keeps nicely polished.

Let me say it: I am an aging woman of despairing good cheer–just look through the imaginary camera lens and watch me as I make the Sunday morning transaction over the bread, then the flowers, my straw tote from our recent holiday in Jamaica, my smile, my upturned sixty-seven-year-old voice, a voice so crying-out and clad with familiarity that, in fact, I can’t hear it anymore myself, thank God; my ears are blocked. Lately everything to do with my essence has become transparent, neutral: Good morning, Jane Sexton smiles to one and all (such a friendly, down-to-earth woman). “What a perfect fall day.” “What glorious blooms!” “Why, Mr. Henning, this bread is still warm! Can this be true?”

Max must surely hear the scattershot of my neighborhood greetings, so fond in their expression and so traditionally patterned, exactly what healthy, seasoned, amiable women learn to say in such chapters of their lives. He has, after so many years, a certain amount of faith in my voice, if nothing else, the voice that he’s married to, but then he doesn’t believe, I suspect, that the mystery of being is as deeply manifest in women as in men. The voice, as he perfectly well knows, is a social projection, an oral accomplishment, something I’ve created and maintained along with my feminine peers. I’m just being merry – that’s how I imagine Max processing my ebullience – I’m being cordial in a way that may be slightly dishonest but that keeps life from bearing down with its solemn weight, keeps it nosing forward, and overrides the worst possible story the day might otherwise offer, his story, that is, which could quickly turn dreary and strangulated without my floating social descant riding overhead on strings of nylon. Oh, do shut up, Jane.

Yes, there we stood: the morning’s excursion to the market, which we managed to stretch out an hour longer than it should have taken, then the taxi to our daughter’s house in Oak Park, her austere three-story brick cube on East Avenue (built 1896) where she lives with her film agent husband, Ivan, with its wide front steps and shrubbery and cement cupids – where we were to have lunch, as usual on Sundays, something hot and savory in the dining room, followed by fresh fruit (on French fruit plates, each one different in design, and accompanied by knives with ceramic handles) and afterward coffee, and then the journey home. Ivan, without a word of complaint, will drive us back to our downtown apartment, silently ferrying his mother-in-law, his father-in-law (he is a man who cannot drive and talk at the same time), eastward through the light Sunday traffic, taking Chicago Avenue as usual. He will actually back his old Packard out of the Oak Park garage, slowly, down the narrow overgrown driveway with its scraping branches, wincing as he hears his beautifully restored car suffering instances of minute damage.

From the Hardcover edition.

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Table of Contents

Segue

-- Various Miracles--
Various Miracles
Mrs. Turner Cutting the Grass
Accidents
Sailors Lost at Sea
Purple Blooms
Flitting Behavior
Pardon
Words
Poaching
Scenes
Fragility
The Metaphor Is Dead – Pass It On
A Wood (with Anne Giardini)
Love so Fleeting, Love so Fine
Dolls, Dolls, Dolls, Dolls
Invitations
Taking the Train
Home
The Journal
Salt
Others

-- The Orange Fish --
The Orange Fish
Chemistry
Hazel
Today Is the Day
Hinterland
Block Out
Collision
Good Manners
Times of Sickness and Health
Family Secrets
Fuel for the Fire
Milk Bread Beer Ice

-- Dressing Up for the Carnival --
Dressing Up for the Carnival
A Scarf
Weather
Flatties: Their Various Forms and Uses
Dying for Love
Ilk
Stop!
Mirrors
The Harp
Our Men and Women
Keys
Absence
Windows
Reportage
Edith-Esther
New Music
Soup du Jour
Invention
Death of an Artist
The Next Best Kiss
Eros
Dressing Down

From the Hardcover edition.

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Foreword

1. Carol Shields spoke of becoming a writer because there weren’t enough books that examined women’s friendships and women’s inner lives — or, as she put it, “the kind of book I wanted to read but couldn’t find.” In what ways does Shields’s fiction bring the lives of women to the surface, or into our understanding? What sorts of female experiences does she illuminate?

2. In her novels and stories, Shields often experiments with using different voices. The Stone Diaries shifts between first-, second-, and third-person narrative; one section of Larry’s Party is recorded almost entirely in dialogue; Happenstance is a novel in two parts, one narrated by the husband, one by the wife; the stories in Various Miracles come from a wide variety of narrative standpoints. Discuss point-of-view in Shields’s works, and the importance of telling one’s own stories — as characters or in real life. Also, what is the role of the writer in telling other people’s stories for them?

3. Though she’s lauded as a writer who brought the lives of ordinary people to the page and made them extraordinary, Carol Shields took some exception to the idea in one interview: “I have never known what ‘ordinary’ people means! I don’t think I quite believe in the concept…. There’s no one who isn’t complicated, who doesn’t have areas of cowardice or courage, who isn’t incapable of some things and capable of great acts. I think everyone has that capability. Either we’re all ordinary or else none of us is ordinary.”Discuss the role of ordinary life in Shields’s fiction. How do her above views come across in her writing? Is there a respect for the everyday that you don’t see in works by other writers?

4. Shields once commented that she’d often set up the structure of a novel, determining such elements as how many chapters there would be, and how long they’d be, before she even set out to write. “I need that kind of structure,” she explained. “[S]ometimes I change it. But mostly I don’t.… I love structures, and I love making new structures for novels.” Discuss the overall structures of different novels and how they relate to the content. For example, does Larry Weller’s love of garden mazes say anything about the twenty years of his life covered by Larry’s Party? What meaning can be found in the one-word chapter titles of Unless? How does Shields use, or even undermine, the biography format in The Stone Diaries?

5. “I'm concerned about the unknowability of other people,” Shields once said. “That's why I love biography and the idea of the human life told or shown. Of course, this is why I love novels, too. In novels, you get to hear how people are thinking. That’s why I read fiction.” How does Shields expose and often celebrate the inner lives of her characters? Can you find examples of characters who aren’t really known to those around them? How do their relationships suffer, or thrive, or even just survive, in the face of such distance?

6. How does what you know about Carol Shields as a person affect your reading of her books? Are you able to separate the author from her work? Do you feel the need to? What parallels can you draw between her approach to life and those of her characters? For instance, most of her main characters are women at mid-life, and many of her characters are writers or work in other areas of book publishing (translators, editors, etc.).

7. In interviews about Larry’s Party, Carol Shields commented more than once that men were “the ultimate mystery” to her. Discuss the male characters in Shields’s fiction — both those in prominent roles, like Larry Weller in Larry’s Party or Tom Avery in The Republic of Love, and the many husbands and lovers that seem to populate the sidelines of other stories and novels. How successfully does Shields portray the world of men in her work? Are there common characteristics you can trace between books? Are some of her male characters defined by the women they love? Or is it more often the other way around?

8. Many of Carol Shields’s works explore the ways individuals interact with their communities. Some characters are defined by their loneliness, while others struggle with their responsibilities to the people around them, whether it’s their family or a larger group. Discuss the roles of family and community in Shields’s fiction.

9. Carol Shields has always been well-known for her love of language, and its slipperiness. In what ways does her writing call attention to itself as writing? Are there particular stories or novels that you find playful? Or linguistically complex?

10. Author and literary journalist James Atlas, who edited the series for which Shields wrote her Austen biography, once said about Carol Shields, “she is our Jane Austen.” Compare Shields’s fiction to that of Austen — are there common themes or techniques? What other major authors would you compare Shields to, and why? Where does her work fit into our literary canon?




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Reading Group Guide

1. Carol Shields spoke of becoming a writer because there weren’t enough books that examined women’s friendships and women’s inner lives — or, as she put it, “the kind of book I wanted to read but couldn’t find.” In what ways does Shields’s fiction bring the lives of women to the surface, or into our understanding? What sorts of female experiences does she illuminate?

2. In her novels and stories, Shields often experiments with using different voices. The Stone Diaries shifts between first-, second-, and third-person narrative; one section of Larry’s Party is recorded almost entirely in dialogue; Happenstance is a novel in two parts, one narrated by the husband, one by the wife; the stories in Various Miracles come from a wide variety of narrative standpoints. Discuss point-of-view in Shields’s works, and the importance of telling one’s own stories — as characters or in real life. Also, what is the role of the writer in telling other people’s stories for them?

3. Though she’s lauded as a writer who brought the lives of ordinary people to the page and made them extraordinary, Carol Shields took some exception to the idea in one interview: “I have never known what ‘ordinary’ people means! I don’t think I quite believe in the concept…. There’s no one who isn’t complicated, who doesn’t have areas of cowardice or courage, who isn’t incapable of some things and capable of great acts. I think everyone has that capability. Either we’re all ordinary or else none of us is ordinary.” Discuss the role of ordinary life in Shields’s fiction. How do her above views come across in her writing? Is there a respect for the everyday that you don’t see in works by other writers?

4. Shields once commented that she’d often set up the structure of a novel, determining such elements as how many chapters there would be, and how long they’d be, before she even set out to write. “I need that kind of structure,” she explained. “[S]ometimes I change it. But mostly I don’t.… I love structures, and I love making new structures for novels.” Discuss the overall structures of different novels and how they relate to the content. For example, does Larry Weller’s love of garden mazes say anything about the twenty years of his life covered by Larry’s Party? What meaning can be found in the one-word chapter titles of Unless? How does Shields use, or even undermine, the biography format in The Stone Diaries?

5. “I'm concerned about the unknowability of other people,” Shields once said. “That's why I love biography and the idea of the human life told or shown. Of course, this is why I love novels, too. In novels, you get to hear how people are thinking. That’s why I read fiction.” How does Shields expose and often celebrate the inner lives of her characters? Can you find examples of characters who aren’t really known to those around them? How do their relationships suffer, or thrive, or even just survive, in the face of such distance?

6. How does what you know about Carol Shields as a person affect your reading of her books? Are you able to separate the author from her work? Do you feel the need to? What parallels can you draw between her approach to life and those of her characters? For instance, most of her main characters are women at mid-life, and many of her characters are writers or work in other areas of book publishing (translators, editors, etc.).

7. In interviews about Larry’s Party, Carol Shields commented more than once that men were “the ultimate mystery” to her. Discuss the male characters in Shields’s fiction — both those in prominent roles, like Larry Weller in Larry’s Party or Tom Avery in The Republic of Love, and the many husbands and lovers that seem to populate the sidelines of other stories and novels. How successfully does Shields portray the world of men in her work? Are there common characteristics you can trace between books? Are some of her male characters defined by the women they love? Or is it more often the other way around?

8. Many of Carol Shields’s works explore the ways individuals interact with their communities. Some characters are defined by their loneliness, while others struggle with their responsibilities to the people around them, whether it’s their family or a larger group. Discuss the roles of family and community in Shields’s fiction.

9. Carol Shields has always been well-known for her love of language, and its slipperiness. In what ways does her writing call attention to itself as writing? Are there particular stories or novels that you find playful? Or linguistically complex?

10. Author and literary journalist James Atlas, who edited the series for which Shields wrote her Austen biography, once said about Carol Shields, “she is our Jane Austen.” Compare Shields’s fiction to that of Austen — are there common themes or techniques? What other major authors would you compare Shields to, and why? Where does her work fit into our literary canon?

From the Hardcover edition.

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