The Canadian writer Alice Munro, master of the short story and Nobel Prize winner in Literature in 2013, has died at the age of 92, according to the Canadian newspaper The Globe and Mail. According to this medium, which has reported the news, he had suffered from dementia for at least a decade.
Also winner of the prestigious Booker Prize in 2009, the author of short story books such as The moons of Jupiter, Escape either Too much happiness She was the great “master of the contemporary short story,” as the Swedish Academy defined her when giving her the highest award in universal literature. Munro, who began cultivating her writing in the 1950s, used the free time left by raising her children to plot her stories, generally set in small towns.
The first Canadian to receive the Nobel Prize in Literature, she counted among her great influences masters of short stories such as Anton Chekhov. Like his, Munro’s works always focused on the darker paths of relationships between neighbors, especially the relationships between mothers and daughters, a particularly recurring theme in her work.
“Was it important that the story be told from a woman’s perspective?” she asked in her Nobel acceptance speech, in which she reflected on her writing, marked, in its style, by the female gaze, and in its Basically, for the stories of women in a hostile environment such as the Ontario in which she lived much of her life. “I want my stories to move people,” the author reflected.
“I want my stories to be something that leads others to not just say ‘oh, that’s true,’ but to feel a reward from my writing, and that doesn’t mean there has to be a happy ending by any means, but that everything in the story moves the reader in such a way that you feel that you are different when you finish reading it.” Over the past few years, many have confessed to feeling, as she would say, “different” after reading it. Not only writers (although Margaret Atwood, Julian Barnes or Joyce Carol Oates have often confessed their admiration for her), but also all types of artists: a close example is that of Pedro Almodóvar, who in his Juliet (2016) amalgamated three stories by the Canadian.
That “truth” to which he was referring was achieved with genuinely normal characters, not embarked on great deeds but crossed by daily doubts, by misunderstandings, by arguments, by small obsessions or medical problems, in a kind of intimate odysseys that became house brand.
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