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About the Author

ROXANE GAY, guest editor, is the author of the bestsellers Bad Feminist,Difficult Women, and Hunger, as well as the booksAyiti and An Untamed State. HEIDI PITLOR, series editor, is the author of the novels The Birthdays and The Daylight Marriage.    

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Product details

Series: The Best American Series ®

Paperback: 350 pages

Publisher: Best American Paper (October 2, 2018)

Language: English

ISBN-10: 0544582942

ISBN-13: 978-0544582941

Product Dimensions:

5.5 x 0.9 x 8.2 inches

Shipping Weight: 10.4 ounces (View shipping rates and policies)

Average Customer Review:

3.1 out of 5 stars

39 customer reviews

Amazon Best Sellers Rank:

#10,902 in Books (See Top 100 in Books)

I buy this anthology almost every year. I understand that the editors choice reflects the editor but this was the first one that seems to discount the quality of the stories for the inherent political social cultural emphasis of the works. These are not particularly well written stories. These are not particularly compelling stories. These stories have one or two clear overlapping agendas which are obvious and sadly bend the word “best” into something with a very different, very 2018 meaning. What should be an anthology about writing is in fact about something else entirely. I hope next year’s edition is less about persons and personalities and more about good writing.

I read this anthology every year. Yes, as other customers have pointed out, Roxane Gay's point of view is reflected in her choice of stories, but I feel strongly that this *adds* a dimension, not detracts or subtracts! We had decades of stories about the white (often wealthy) experience, with a few notable exceptions. Then Junot Diaz in 2017 and Roxane Gay in 2018 expanded the diversity of this series and opened us to new authors, characters, themes, backgrounds, experiences. In my view, the quality has not suffered. These are excellent stories, many of them electric and memorable.

I tried to give this anthology a chance after barely making it through the Introduction but finally gave up. If you want to read politically charged fiction then you may enjoy this but I read fiction to escape, not to be lectured to.

As a short story writer, I really enjoy this anthology series, from both a reader's and writer's perspective. But BASS 2018? This is my favorite year by far. Roxane Gay doesn't choose stories based on the magazine they are published in. There's even a piece or two of genre fiction (weeks later, I am still haunted by The Brothers Brujo. That first paragraph. THAT FIRST PARAGRAPH. It should be taught in every writing class about how to write a first paragraph.)I'm not surprised by some of the commentary I've read about the anthology. Disappointed, yes, but not surprised. I've read reviews centering on how people don't think these stories deserve the title "best of" because they are too political, because they are not written like other good short stories are, because they sound different, and, of course, because 'the only reason these stories were chosen was because Roxane Gay wanted to choose political stories.'Here is what I say to those readers: being political and being good are NOT mutually exclusive. And, furthermore: most of these stories aren't overtly political. Having diverse characters does not equal a polemic against the current administration.This is the first of the "Best of" series where I wasn't completely overwhelmed by the male, able-bodied WASPiness of it all. BASS 2018 is not about what IS traditionally considered "good" literary fiction. It is about what SHOULD be considered good literary fiction. It is about stories and voices that are glorious and beautiful but have been overlooked again and again by literature as a collective. The stories here experiment with structure, with voice, with point of view and with subject matter.Most of the time, I end up enjoying between 1/3 and 1/2 of the stories per BASS collection.This year, I enjoyed all but two or three, and that was mostly because they just weren't the style I enjoy reading – stepping back as a reader, from a craft standpoint they were quite strong.I strongly encourage readers and writers alike to pick up this anthology. It is perfect for teaching craft, and showcases a variety of voices and POVs: great for classrooms with a wide range of writerly sensibilities.

I had trouble getting through some of the stories. A Big True was particularly disappointing. And the other Stories were not up to the standards of previous years which I loved.

The Best American Short Stories 2018Selected by Roxanne Gay and Heidi PitlorReviewed by C. J. Singh (Berkeley, California)HEIDI PITLOR, the editor of the series, states in her Foreword (page xi): “In last year’s foreword, I wrote about my reaction to the 2016 presidential election. I received a few letters requesting that I keep politics out of my job…. As George Orwell wrote in a 1946 essay, ‘The opinion that art should have nothing to do with politics is itself a political attitude.’ ” I fully agree with Pitlor. She is also the editor of the excellent anthology "100 Years of the Best American Short Stories", which she co-edited with Lorrie Moore. (For a fuller understanding of Pitlor's contributions, see my review of the book on amazon.)The 2018 book comprises twenty short stories; I'll review three.JOCELYN NICOLE JOHNSON’s short story “Control Negro,” published in Guernica, is an 11-page letter by an African-American professor, in his sixties, to his 21-year old biological son, with whom he had never talked face to face, but supported him financially by giving money to his mother married to another. This is not a story of adultery. The married couple had failed to have a child because of a lack in the husband. The mother, an African-American graduate student, made a consensual arrangement of impregnation while remaining married. At the opening of the story in media res, the biological father is a professor of history, the mother a professor of environmental studies, the son an undergrad -- all three at the same esteemed university.The letter begins (page 167): “By the time you read this, you may have figured it out. Perhaps your mother told you, though she was privy to my timeworn thesis – never my aim or full intention. Still, maybe the truth of it breached your insides: That I am your father, that you are my son. In these typewritten pages, I mean to make manifest the truth, the whole. But please do not mistake this letter for some manner of veiled confession. I cannot afford to be sorry, not for any of it. I hope you’ll come to understand, it was all for a grander good.“You see, I needed a Control Negro, grotesque as that may sound –“You should know I was there on the day you were born, a reflection behind the nursery glass. I laid eyes on you while your mother rested, along with her husband – that man you must have accepted, at least for a time, as your father. You seemed to see me too, my blurred silhouette.”In the letter, Professor Cornelius Adams narrates the assaults and humiliations he had suffered such as at age ten being beaten almost to death by three drunken white young men for no reason other than his being black (page 174). At his job as a professor, being handed among student submissions a cartoon titled “Irony,” by an anonymous student as “a history professor leaned over a lectern, looking quite like me – same jacket and bow tie – except with something primitive about his face. A thought bubble hovered over the room of students: ‘Darwin Taught to Men by an Ape.’ ” The term “Control” in the story title is standard in social anthropology/psychology experiments as evidence of valid comparisons. Is the hostile behavior of American Caucasian Males (ACMs) toward African Americans because of color or of class and cultural differences? Would a “Control Negro” child raised as a middle-class American and attending an esteemed college be subjected to hostility by ACMs?At the climax of the story, Professor Adams observed (page 177) “wasted students partying on the strip of college bars. I knew this because I’d worked late that night, the first warm evening of spring. I’d decided to walk home through the carnival of youth, and only by chance spotted you out front of that bar on the corner. You were right there in the fray of students, half swaying to music that spilled from an open patio.Surprise: “I must tell you now that it was I the one who called the precinct, claiming to have seen a ‘suspicious young man’ at the corner of University and Second. I called but did not specify your height, your color….Son, please believe me if you believe nothing else I’ve written: this was a test for them – for the world!—not for you.”No Surprise: The police promptly arrested the black youth, his son, “who seemed dangerous” to them; “pinned him to the pavement,” blood flowing.Remorse: After seeing his son participate in a student protest on campus, the narrator expresses his remorse in the closing paragraph of his letter: “When I saw you, I knew that you would recover, and it felt like I could breathe again for the first time in a very long while. …Look at all you’ve accomplished, in spite of everything. You made it here, just like they did.”------------CRISTINA HENRÎQUEZ’s short story “Everything Is Far from Here,” published in The New Yorker, is about a Latina group with children crossing the border into Texas.During the journey, the unnamed main character was forcibly separated from her 5-years’ old son. “The man who was leading them here divided the group. Twelve people drew too much attention, he claimed. He had sectioned off the women, silencing any protest with the back of his hand, swift to the jaw. ‘Do you want to get there or not?’ They did. ‘Trust me,’ he said.” (page 149)She had left her country after her husband was killed and she was raped by a gang of young boys – “boys whose mothers she knew from the neighborhood.” As an asylum seeker, she is interviewed by a lawyer, who asks, “Why do you think they targeted you?” She replies, “I was alone.”The poignant anxiety she suffers from the separation from her son is the central theme of the story. Using the third-person close Point of View, the narrator succeeds in evoking this reader’s empathy.At night, missing her son, she sometimes screams. Then “the guards come to restrain her. They hold her arms behind her back. They drag her down the hall and put her in a room, a colorless box with spiders in the corners, until she calms down.” (page 153)“One day, when the air is damp and the sky is mottled and gray, there’s a protest. People outside hold signs that say ILLEGAL IS A CRIME and SEND THEM BACK WITH BIRTH CONTROL. People hold American flags over their shoulders like cape. Superhero Americans. She imagines them at home … laying the poster board on the floor, uncapping markers, drawing the letters, coloring them in.” (pages 153- 54)Daily she sits by the front door waiting for her son. One day, she sees a five-year old boy among the crowd. “His dark, combed hair, the freckle beneath his eye. God in Heaven! It’s him! She lunges forward and wrests him from the crowd. She falls to her knees and pulls him into her arms.” (p 155)Alas, he is not her son, just a look-alike. The boy’s real mother snatches him away.As foreshadowed in the title “Everything Is Far from Here,” she accepts her situation. “She will stay in this place, she tells herself, until he comes."ESMÈ WEIJUN WANG’s short story “What Terrible Thing It Was,” published in Granta, is told by a paranoid narrator, whose psychosis worsens by the 2016 right-wing election victory and what that portends for minorities such as East-Asians like her.The story opens with the first-person narrator, Wendy Chung, hearing the voice of Becky Mei-Hua Guo, a friend of hers, who had been murdered and hung high up a eucalyptus tree in Polk Valley where they lived. Wendy was seventeen at that time. Throughout the story Wendy hears Becky’s voice. “If she had not been killed in part because of her race, I could, as the saying goes, breathe easier, but I could not assure myself of that any more than I could wipe off my own face.” (page 293)Wendy goes to the Wellbrook Psychiatric Hospital for a consult. Dr. Richards recommends ECT (electroconvulsive therapy) for her schizophrenia and depression. Wendy says she wants to first talk about this with her husband, Dennis, a good-natured white man. On the bus ride back to Polk Valley, Wendy looks at Twitter to learn how the election is going. “I look briefly at Twitter and see that the man I am afraid will become president has insinuated that it would be best if his supporters harassed people at the polls, particularly people of color; of course, he never says ‘people of color,’ but we know what he means. I click on the tweet and scroll down: ‘Muslim Obama HATES America, LOVES terrerists!’ ” (pages 296-97)Wendy’s regression to her earlier trauma by the 2016 election result is suggested in the last paragraph: “In the bathroom where I avoid looking in the mirror – an aversion to my own face is one of my latest symptoms….I stand at the sink for a long time, until I cannot remember what I am doing; I lose the next move. Suddenly, and too loudly, a girl calls my name.” (page 300)The complete list of stories:1. Maria Anderson, “Cougar”2. Jamel Brinkley, “A Family”3. Yoon Choi, “The Art of Losing”4. Emma Cline, “Los Angeles”5. Alicia Elliot “UnEarth”6. Danielle Evans, “Boys Go to Jupiter”7. Carolyn Ferrell, “A History of China”8. Ann Glaviano, “Come on, Silver”9. Jacob Guajardo, “What Got Into Us”10. Cristina Henriquez, “Everything Is Far from Here”11. Kristen Iskandrian, “Good with Boys”12. Jocelyn Nicole Johnson, “Control Negro’13. Matthew Loyns, “The Brother Brujo”14. Dina Nayeri, “A Big True”15. Tea Obreht, “Items Awaiting Protective Enclosure”16. Ron Rash, “The Baptism”17. Amy Silverberg, “Subarbia!”18. Curtis Sittenfeld, “The Prairie Wife”19. Rivers Solomon, “What Heart I Long to Stop with the Click of a Revolver”20. Esme Weijun Wang, “What Terrible Thing It Was”Five-star book.

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