Menu
At the End of It All by Suzanne Craig-Whytock is a compelling collection of contemporary flash fiction that resonates deeply with its readers, showcasing the author’s profound engagement with themes of memory, loss, and existential reflection. This review will explore the thematic richness and stylistic nuances of Craig-Whytock’s work, providing a brief close reading of selected stories to highlight the collection’s strengths and distinctive voice.
Craig-Whytock’s collection is unified by an exploration of human frailty and the poignant beauty found in the shadows of existence. The recurring motifs of time and transience are evident throughout the collection, with each story acting as a meditation on the ephemeral nature of life. The author skillfully juxtaposes moments of personal introspection with broader societal observations, creating a range of interconnected experiences that speak to the universal human condition.
1. Into Thin Air
In Into Thin Air, Craig-Whytock crafts a narrative steeped in quiet revelation and eerie undertones. The story begins with a seemingly idyllic scene: “It was a beautiful day for a party. Daphne was secretly thrilled, having had some doubts about the weather.” This opening sets a tranquil tone, which gradually unravels as the story delves into themes of invisibility and existential erasure.
The pivotal moment occurs when Daphne notices something amiss in the family photographs: “Huh,” Daphne said, disgruntled. She leaned back in the lounge chair and took a big swig of wine. ‘What? Derek looked at her, confused. Daphne said nothing for a moment, then burst out, ‘All those pictures and not a single one of me?'” Craig-Whytock’s use of a simple family gathering to explore deeper existential fears is both effective and unsettling. The disappearance of Daphne from the photographs symbolises a deeper existential crisis, evoking a sense of disconnection and the fragility of identity within familial structures.
2. Landscape With The Fall Of Icarus
In Landscape With The Fall Of Icarus, Craig-Whytock draws inspiration from Pieter Bruegel the Elder’s painting to craft a narrative steeped in observation and quiet revelation. The story begins with a striking image: “The body had been in the shallow water at the base of the culvert for a while.” This opening sets a somber tone, evoking a sense of neglect and overlooked tragedy. The author’s use of the body as a central image underscores the theme of unnoticed suffering, resonating with the myth of Icarus whose fall goes largely ignored by those around him.
The detailed description of the indifferent passers-by, such as the truck driver and the woman in the sports car, serves to highlight the story’s critique of societal apathy. “A truck driver saw something shapeless through the weeds… he just shrugged to himself and hadn’t given it a second thought,” illustrates this indifference. Craig-Whytock’s precise and evocative language paints a vivid picture of the scene, compelling the reader to confront the discomforting reality of human detachment.
Craig-Whytock’s style is marked by its clarity and emotional depth. Her use of concise and powerful language allows for a natural flow of thoughts and images, creating an intimate and contemplative reading experience. The collection’s varied tones—from the haunting and melancholic to the sharp and observational—demonstrate the author’s versatility and command over her craft.
At the End of It All is a powerful addition to contemporary flash fiction, offering readers an introspective journey through the landscapes of human experience. Suzanne Craig-Whytock’s ability to weave intricate themes with vivid imagery and poignant language makes this collection a must-read for wide readers of contemporary fiction. Her exploration of themes such as memory, loss, and existential reflection provides a rich ground for literary analysis and personal reflection. Through detailed textual analysis and close readings of selected stories, it is evident that Craig-Whytock has crafted a work of enduring significance and emotional resonance.
Suzanne Craig-Whytock is the author of four novels: Smile (2017), The Dome (English version, 2019; Arabic translation, 2022), The Seventh Devil (2021), and The Devil You Know (2023). She has also authored two short story collections: Feasting Upon The Bones (2021) and At The End Of It All (2023).
The Broken Spine is a poetry and arts collective proudly published on the coastal edge of North-West England. Founded in 2019 by Alan Parry and Paul Robert Mullen – two school friends reunited after twenty years through a mutual love of poetry.