Notice bibliographique
Résumé
Cyril Dabydeen. Multi-Ethnic Friends & Other Stories. Toronto: Guernica Editions, 2013. 204 pp. $20.00 sc. An author is successful when the story stays in the reader's imagination after the reading is done. Cyril Dabydeen is a writer who enhances the reader's share of the narrative. A story that engages the whole person is what serious readers are always eager to find. Such novels and short stories are the gold standard of literature. Once the mood is set and the characters are in place, then the reader can riff to his heart's content; the reader can perform like Miles Davis transported by a 20-minute set of All Blues or My Funny Valentine. And if one is not inclined to riff, then one can listen to Dabydeen riff. Fie does that very well, as you might expect from a short story writer with the soul of a poet. By reader's share I mean the same sort of thing that the famous art historian and theorist Ernst Gombrich meant when talking about the beholder's share. The reader's share describes the grappling or soul searching that the reader is encouraged to do in order to make sense of the text at hand; such a deciphering effort only adds to the pleasure of reading. The understanding that flows from being in the grip of a good story is rewarding and pleasurable to the same degree that one grapples with it. Dabydeen makes it all the more interesting in that he writes about us while skillfully muting the artist's touch. Good fiction reflects real life in its many pauses and facets, in its dialogue and character sketches. Good fiction should never be about the author's presence. When certain authors' signature styles are too obvious then the story risks being lost and the reader risks worshiping at the feet of an idol. On the other hand, we know that an author succeeds when we hardly know he is there. When an author disappears it is easier to get lost in the flow of the story--we can clearly imagine the setting, hear the inflections of voice, identify with the search for meaning, and be frustrated by the grappling the characters endure. The drama, the anguish, the isolation or the fulfillment that the story, as in real life, confronts us with are essential elements. These elements will not come to life if the reader is distracted by the author's style. An author is successful when the story stays in the reader's imagination after the reading is done. This is what happened to me after reading Multi-Ethnic Friends & Other Stories, Dabydeen's recent collection of short stories. The host of characters depicted in these stories stayed with me long after the last page was read and the cover closed. Echoing still is the authenticity of the clipped conversations of the beleaguered characters who struggle with dislocation, exile, and doubt. Regarding the lives of immigrants and the difficulties of creating new identities while still freighting remembered ones, the depictions are affecting, realistic, and insightful. The simplicity of style belies both the depth of reflection and the authenticity of voice. That these stories all ring true is, in large measure, due to the subtle and understated method that Dabydeen brings to bear on the narrative. The echoing after-life of his stories and their authentic voice set the stage for an unexpected conversation--one that enriched my reader's share and at the same time validated Dabydeen's excellence. Mavis Gallant, another great Canadian short story writer, observes in her essay, What is Style: Against the sustained tick of a watch, fiction takes the measure of a life, a season, a look exchanged, the turning point, desire as brief as a dream, the grief and terror that after childhood we cease to express. The lie, the look, the grief are without permanence. The watch continues to tick where the story stops (1988, 1177). Gallant' words are a caution for writers to not betray their true voice (that is, to not dress up the structure in order to hide a slipshod or discordant voice). …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,001 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,002 |
| Études des sciences et des technologies | 0,003 | 0,001 |
| Communication savante | 0,004 | 0,005 |
| Science ouverte | 0,001 | 0,003 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,192 | 0,089 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».