Overview

These twenty superbly crafted linked stories navigate the difficult realm of friendship, charting its beginnings and ends, its intimacies and betrayals, its joys and humiliations. A mother learns something of the nature of love from watching her young daughter as she falls in and out of favour with a neighbourhood girl. An intricate story of two women reveals a friendship held together by the steely bonds of passivity. A chance sighting in a library prompts a woman to recall the “unconsummated courtship” she was ...
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Small Change

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Overview

These twenty superbly crafted linked stories navigate the difficult realm of friendship, charting its beginnings and ends, its intimacies and betrayals, its joys and humiliations. A mother learns something of the nature of love from watching her young daughter as she falls in and out of favour with a neighbourhood girl. An intricate story of two women reveals a friendship held together by the steely bonds of passivity. A chance sighting in a library prompts a woman to recall the “unconsummated courtship” she was drawn into by a male colleague. With trenchant insight, uncommon honesty, and dark humour, Elizabeth Hay probes the precarious bonds that exist between friends. The result is an emotionally raw and provocative collection of stories that will resonate with readers long after the final page.

From the Trade Paperback edition.

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Editorial Reviews

Ottawa Citizen
These honest and brave tales are less like stories than meditations-about how friends come with attachments, how circles widen, how things are learned.... One of Ms. Hay's most remarkable characteristics as a writer is her great economy, her ability to bring time in and out, to give long thoughts in short phrases, to create levels of intimacy and encroachment to intensify the world by making it tense.
Library Journal
Hay's (A Student of Weather) second book of short stories examines the changing seasons of friendship, its peaks and valleys, joys and betrayals. In many of these tales, she illustrates how the course of friendship at first runs smoothly but invariably transforms itself over time, sometimes even burning itself out. The characters in these interconnected stories come alive and earn readers' sympathy and understanding. Maureen in The Fire or Ivy in The Parents could well be one's neighbor, sister, or grandmother. In spare prose, the stories exert a quiet forcefulness and convey a sense of character, message, and plot without pretense or superficiality. A gifted storyteller, Hay has written a wise, penetrating, and memorable collection of stories that communicates the vulnerable nature of friendship. First published in Canada by Porcupine's Quill in 1997, this collection was a finalist for three literary prizes, including the Trillium Award. Very highly recommended for academic and public libraries.Lisa Nussbaum, Dauphin Cty. Lib. Sys., Harrisburg, PA Copyright 2001 Cahners Business Information.
From the Publisher
“Compelling.…These linked stories are not so much conventional narratives as unflinching meditations on ambivalent love, the only love worth writing about, as John Updike once said. What readers and even literary jurors are responding to is how close to the bone Hay’s fiction is.”
–Montreal Gazette

“One of Ms. Hay’s most remarkable characteristics as a writer is her great economy, her ability to bring time in and out, to give long thoughts in short phrases, to create levels of intimacy and encroachment, to intensify the world by making it tense.”
Ottawa Citizen

Small Change takes real risks and is an idiosyncratic and bitterly intelligent collection of stories. It is also, paradoxically, both timeless and as fresh as new paint.”
–Elisabeth Harvor

“Hay brings together in [Small Change] the revelatory power of narrative, the analytical possibilities of the personal essay and memoir, the investigative discipline of journalism, and the sudden illumination of lyric, and as a result she seems able to pick up almost everything – everything said, and most of what is only whispered in a gesture or a look between friends.…Endlessly rewarding.…These stories are beautifully written and carefully honed.”
The Malahat Review

“Stories that capture those details, moments, that someone less observant, less sensitive would miss. Language that flows as easily as water.”
–Jury Citation, Governor General’s Literary Awards

“Captivating.…Fluid, evanescent, rarely in balance, the friendships recounted in these stories are everything but peaceful.”
Toronto Star

“Hay knows how to make a line breathe, and it’s possible to open the book at random to find sharp, almost electric, prose leap out and give off light.…Through sparkling prose, Hay is able to flesh out the quirky and individual gestures that make out relationships.…”
Ottawa X Press

“One of Canada’s premier writers.…”
Canadian Forum

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Product Details

  • ISBN-13: 9781551994345
  • Publisher: McClelland & Stewart Ltd.
  • Publication date: 8/27/2010
  • Sold by: Random House
  • Format: eBook
  • Sales rank: 1,125,266
  • File size: 2 MB

Meet the Author

Elizabeth Hay is the author of two highly acclaimed, bestselling novels. Her first novel, A Student of Weather (2000), won the CAA MOSAID Technologies Inc. Award for Fiction and the TORGI Award, and was a finalist for The Giller Prize, the Ottawa Book Award, and the Pearson Canada Reader’s Choice Award at The Word on the Street. Her most recent novel, Garbo Laughs (2003), won the Ottawa Book Award and was shortlisted for the Governor General’s Award. She is also the author of Crossing the Snow Line (stories, 1989); The Only Snow in Havana (non-fiction, 1992); Captivity Tales: Canadians in New York (non-fiction, 1993), and Small Change (stories, 1997), which was a finalist for the Governor General’s Award, the Trillium Award, and the Rogers Communications Writers’ Trust Fiction Prize. Her stories have been anthologized in Best Canadian Stories, The Journey Prize Anthology, and The Oxford Book of Stories by Canadian Women, edited by Rosemary Sullivan. She has won a National Magazine Award Gold Medal for Fiction and a Western Magazine Award for Fiction. In 2002, she received the prestigious Marian Engel Award.

Elizabeth Hay lives in Ottawa.

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Reading Group Guide

1. After reading Small Change, discuss the role that the epigraphs from Noel Coward and Toni Morrison play in acting as road maps through the terrain that Small Change explores. You might want to discuss, for example, whether the epigraph from Noel Coward is or is not an adequate description of Beth. The quote from Toni Morrison seems to suggest that a degree of play-acting is necessary to create the right kind of impression in conducting our relationships. Discuss the search for a balance between honesty and self-protection in the friendships portrayed in the book.

2. Look at the stories that focus on Beth's intense friendship with Maureen, including "The Friend" and "Cézanne in a Soft Hat," and compare them with stories that chronicle other friendships - with Carol in "The Fight," Leonard in "Sayonara," and Leah in "Purge Me with Hyssop" - and compare the differences in Beth's connections with each of these characters. What does Beth expect from friendship? How aware is she of her own failings as a friend?

3. Beth's friendship with Maureen is the most fully described of her adult friendships, but her attitudes to friendship grow out of her own childhood experiences. Compare the Maureen stories with Beth's recounting of her daughter's difficult friendship with Joyce in "Hand Games."

4. One of Beth's issues with Maureen is her passivity - Maureen, for example, stays with her painter husband, Danny, even after he is clearly unfaithful to her and, even more disturbing, risks her own life by sleeping with him after she suspects he is HIV-positive. What does Beth see in herself that makes her react so strongly to Maureen's passivity? What does she learn about passivity? And about herself?

5. Hay's fictions have a very visual feel to them and she has commented in interviews that she's a great admirer of the Canadian painter David Milne. In "Cézanne and the Soft Hat," she examines the landscapes of the French Post-Impressionist painter in describing the breakdown of his friendship with writer Emile Zola. Look at how Hay describes landscape in this story and discuss the connections that she makes between the detachment of the painter and the detachment of the writer.

6. Beth is a writer who clearly is reworking episodes in her own life into her fiction. Hay said in an interview in the Ottawa Citizen that the "starting points for these stories are autobiographical, and the course they take is fictional." Does the absence of disguise - of an obvious fictional cover - make the stories more compelling?

7. In "Makeup," Beth describes herself as "an emotional bag lady dragging along old friendships, old failings, old makeup and using them to keep myself warm in a shabby sort of way." Does this gathering to herself of old sorrows make her a more or less appealing character?

8. Small Change is structured as a series of linked stories, beginning with the Maureen stories and returning to Maureen in the end. How does the circular and overlapping structure of the book contribute to the underlying theme of friendship revisited.

9. Beth suggests in "Cézanne in a Soft Hat" that men's friendships with other men are less inclined to be so emotionally fraught as are friendships between women. "They don't brood so luxuriously about friendships gone wrong." Discuss.

10. In the stories "January Through March" and "Several Losses," Beth looks at the patterns that exist in her friendships and compares them to the seasons. At the end of "Several Losses," Beth asks herself what she has learned and replies, "That I have arrived at middle distance in middle age with not necessarily fewer friends or better friends, but with an overwhelming desire for peaceful friends. And that all of this is temporary, and yet always the same." Discuss the kind of release Beth finds in viewing her friendships and herself as part of the shifting fabric of the physical world.

11. In "A Personal Letter" a character says, "Children don't appreciate what we come to value so much as adults: consistency in our relationships." Discuss the undercurrent of longing for something more fulfilling among the characters in these stories.

12. The Malahat Review's Robert Finley wrote about Small Change that "Hay brings together in her fourth book the revelatory power of narrative, the analytical possibilities of the personal essay and memoir, the investigative discipline of journalism, and the sudden illumination of lyric, and as a result she seems able to pick up everything - everything said, and most of what is only whispered in a gesture or a look between friends." Discuss how you see Hay using different literary genres to explore the concept of friendship.

13. Compare Hay's idea of friendship with that of other writers. You might want to look at Alice Munro's short story collection Friend of My Youth, for example.

14. Discuss the style of Hay's writing. It has been described as both poetic and economical in its attention to the details of emotion and landscape. Is it part of a writer's job to find words for things that are difficult to talk about?

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