Fluke - a story

This story has been included in the Cambridge IGCSE anthology: Stories of Ourselves Volume 2 and used in schools. I have been sent three questions about the story from Hampton School in London. I am sharing my answers here in case it is of help to other students too.

1. Who is Mr Weerakoon a representation of in society and how are we intended to feel towards him?

 As a writer, I have a fondness for all my characters. Empathy is necessary for the fiction. I want Mr Weerakoon to be a believable and recognizable individual struggling to make a life in a modern society. Sometimes perhaps against the odds. He has had to become a corporate man and is doing the best he can, or so he thinks. He is ‘the brand new face of our remodelled country … open for business’ as Vasantha sees him. Marketing is often mistakenly seen as the answer to a problem. Selling the message, whether commercially or politically, becomes the focus when perhaps there is a more important matter that needs attention.

 2. Is your protagonist, Vasantha ‘the van man’, intended to serve as a direct contrast to Mr Weerakoon or, given that he appears in each of the short stories in the collection, does he embody or represent something or someone else?

 The book, although a collection of stand-alone stories, is also a kind of novel as it traces the development of Vasantha as a man who is beginning to discover the changed world he lives in. Changed by the war and the peace that followed the brutal end of the war. He is a man discovering the nature of the country he lives in by seeing regions he has never seen before and learning about its recent history through the people he meets. The book is divided into two parts, north and south, both deeply affected, but in different ways, by the recent traumatic past. Mr Weerakoon is one of the people who gives him an insight into this new world post-war world.

 3. Are we intended to view the guests to the presentation as a collective, or do they each represent a more nuanced or specific element of society?

 As a writer what I am trying to do is see the world through Vasantha’s eyes. He is a man who has lived a life through difficult times and beginning to see, for the first time, how other people cope with the world and forge their own lives. It amuses him sometimes and baffles him at other times. The guests give us a glimpse of people in other walks of life who are also searching for the way forward either for themselves or on behalf of others.

Throughout the book I am concerned with language. Both how we use it our purposes in describing the world around us, but also how it changes with time and context. ‘Toll’ in the title of the book, for example, has a meaning that changes over time. During the war and the tsunami it brings to mind the toll of death. But for Vasantha the word will soon have a different resonance as new expressways are built, and toll plazas become an everyday feature for him as a driver. ‘Fluke’ is also a word where the different meanings are part of the texture and music of the story.

 

Complex stories

"Can you have complex characters and situations in a short story?"(Catriona)

A short story does not have  to be simple, or about a single incident. If the fiction works then the reader attends to the imagined world not the form. And an imagined world does need characters that you can see and believe in. For me, a good short story is as memorable and imaginatively real as a good novel. The imaginative energy  that goes to make it is much the same.

Choosing: short story or novel?

“How do you decide on the form for a particular work? Should it be a short story or a novel?” (Anon, Manila)

This is a question that troubles many writers.

The initial decision is often a practical one. How much time can I spend on this story? Do I have years, or only months? Do I want something book length, or shorter?

Sometimes the material will suggest the form: some stories just need more space. But often you simply make the decision and then find a way of working the story into that shape. Your own interest in the story will give an indication of how many pages it could last.

Embarking on a story is like getting in a car and going somewhere. Sometimes you know where you are going before you get in, sometimes it becomes clear only once you set off. And sometimes you don’t know until you reach the end. If any of those options are not for you, then make sure you do something about it. You are the driver.

At some point in the writing you will need to work out what makes something a novel, or a short story and then engage with it — challenge the form, or at least what you think is the form.