In a review of Lydia Davis’s new story collection Can’t and Won’t, Christine Smallwood observes that the famously concise writer “makes the impossible look easy”:
Like Proust, whom she has translated, Davis writes the act of writing itself. I don’t just mean that her narrators tend to be teachers or authors, though that’s true; I mean that her stories are filled with moments of crisis about how to carry on, or what word to put down next, and fears that it could all mean nothing in the end. She’s a theorist of the arbitrary. The fact that she makes it look so easy—so arbitrary, even—is part of the fun.
Chloe Schama declares Davis “the perfect writer for the Twitter era”:
Davis does not just turn dada doodads into text with grammatical coherence. She produces stories that are inevitably compared to poetry, not only because of their concision and appearance on the page, but because of their obvious care of construction. “A fire does not need to be called warm or red,” she writes in one of the stories, “Revise: 1,” included in her new collection; “Remove many more adjectives.” I haven’t counted the adjectives in Can’t and Won’t, but I’m certain the total would be paltry. Most of the stories in Can’t and Won’t are just a page or two; the longest—“The Seals,” a poignant reflection on the loss of an older sister and a father—is just over 20 pages, and it feels like a marathon.
Davis is perhaps the sparest contemporary fiction writer we have—breathtakingly bold in the limits she imposes on herself.
Not only are there no extra adjectives, there are very few adverbs, no extra clauses, no scene-setting, no tiresome realist blather detailing the subway route from Bushwick to Broome Street. There is no roughage in her writing—there is nowhere to hide. There are only the words—stark and striking, an experiment in just how little it takes to make a story. Her work can sometimes read like a test of discipline or the brilliant product of a dare: You thought I couldn’t do it, didn’t you? I broke your heart in one paragraph or less.
Erica Wagner close-reads the new book, praising it as “an open invitation to look as closely as we can at both literature and the world.” But Scott Esposito gives the collection a lukewarm review:
[T]he stories in Can’t and Won’t studiously distance themselves from the very sort of tough existential questions that Davis has made such an art of approaching in her own way. Rather than veering toward the dying man’s breath, they veer off in the direction of light humor—what Can’t and Won’t feels most like is a very precisely honed book of jokes. Of course, an effective sense of humor has always been one of Davis’ most potent weapons, and I would not want to see her work deprived of it, but here it leaves precious little room for the other emotions that tend to mix so profoundly in her fiction.
In a recent interview, Davis explained how she got interested in writing at such brevity:
I can date that pretty precisely to the fall of 1973. So I was 26 years old and I had just been reading the short stories or the prose poems of Russell Edson. And for some reason, I was sparked by those. I thought, “These are fun to read, and provocative and interesting, and I’d like to try this.” So I set myself the challenge of writing two very short stories every day just to see what would happen.


