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And yet Munro trusts her readers; she believes that we will pay attention to all these things and more. She aims to create the illusion that everything in her fiction has been left in, and it is this very capaciousness that sets her work apart, making possible the keen psychological insight of her stories about marriage as well as the cool violence of "Vandals" or "Fits." Hers is an unusual sort of realism, technically innovative and amenable--especially in the later work--to loose ends. (It also possesses a quick, flinty wit: "This was the first time I understood how God could become a real opponent, not just some kind of nuisance or large decoration," says the narrator of "The Progress of Love.") To call Munro the Canadian Chekhov is by now a commonplace--and yet she may have done more for the short fiction form than any writer since. These are stories that will be read, savored, and admired hundreds of years from now. --Mary Park
Here at home she has won too many awards to list, including three Governor General’s Literary Awards, two Giller Prizes, several Trillium Prizes and a number of Libris Awards. Elsewhere she has won the Rea Award for the Short Story, the Lannan Literary Award, England’s W. H. Smith Book Award, Italy’s Pescara prize, the United States’ National Book Critics Circle Award, and the Edward MacDowell Medal in literature. Her stories have appeared in The New Yorker, The Atlantic Monthly, Saturday Night, The Paris Review, and other publications, and her collections have been translated into thirteen languages.
Alice Munro divides her time between Clinton, Ontario, and Comox, British Columbia.
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