In Chris Wilkensen’s “O’Hare’s Lost and Found,” at what point does the narrator decide to stay in Chicago? Why does he do so?
In Anna Ruiz’ “An Ancient Light, Gathering”:
- Why might the repetition of blood be taken figuratively rather than literally?
- How does the poem denote time past?
In Gary Clifton’s “The Casa Loma Players”:
- Why might the arrest seem to come belatedly?
- What two lines of dialogue form the story?
- What is the policeman’s role: is he heroic, tragic, pathetic?
In Xenia Melzer’s “Forest Deep, Forest Dark”:
- The forest seems to have a symbolic function rather than play an active part in the story. What might it symbolize?
- Can the witch or Gretel do nothing to escape their fate?
- What does the story imply about evil: is it persistent or an aberration?
In Ronald Linson’s “In Pursuit of Princess Napalia”:
- What does the story imply about fiction and reality?
- What tragic elements does the story contain? What comic or farcical elements?
In J. P. Flores’ “Mud”:
- Is it plausible that Mud would tell Mara “They are big”? How does he know?
- Why does Mud insist that the servants be served first? Is he following a religious principle or is he replicating a custom from the monastery?
In Stephen Ellams’ “Vanitas”:
- Why is it obvious that the first two lines of the poem are a paraphrase rather than a direct quote?
- If all is “vanity,” i.e. emptiness, is life worth living? If not, what is the point of resurrection?
What is a Bewildering Stories Challenge?