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A boon to those who enjoy the observations of writers, these two books, both published in 2003, offer a wide variety of writers and opinions. The Voice is the Story concentrates on the short story form, while Writers Talking has a broader scope. These books deal solely with contemporary Canadian writers, and flavour much of their outlook with this aspect in mind.

The Voice is the Story is a compilation of ten interviews with authors, all except two previously published in various literary journals. The initial slant (or conceit) of these interviews is to discuss what 'the voice of the story' is. Although this is an interesting aspect of any writing genre, and the interviews do often stray from the topic, there is the feeling of an 'academic' restraint imposed on the interviews. At the end of the book, the concept of 'voice' is as nebulous as ever. Voice seems to be whatever the author intends. As long as that voice remains consistent throughout the work, voice has been achieved.

The Voice is the Story consists of interviews with ten well-established authors, ranging from Joan Clark and Jack Hodgins, to Alistair MacLeod and Carol Shields. There are thorough discussions about (and references to) a variety of their own works, plus their opinions concerning the larger writing scene, and the accelerating state of Canadian literature. Most make comments about Canadian literature having entered the broad stage of World recognition, during the latter decades of the last century. Our 'survivalist' mode has branched out significantly, and Canadian writing is now: a) recognized as a separate and independent literature, and b) taking its place in both academic and commercial circles. In other words, we're taken seriously, and we sell.

There is a fusty atmosphere to the interviews in The Voice is the Story. Although they are basically question-and-answer encounters, which are then read and edited by the interviewee, there is a staid quality to many of them. Perhaps this is because they were destined for Canadian journals, or perhaps the premise of keeping to the topic of 'voice' restricted a broader net being cast. Writers such as Timothy Findley and Carol Shields do fly off on their own sometimes, but generally the ground seems a safe place to be.

There is certainly a broad slant to the 'personal' in The Voice is the Story. Although author reminiscence may not assist a reader on learning how to write, the various examples are quite enlightening about the writing process. The upshot seems to be that anything can trigger a story, and an author best knows how to mine their own life. The lesson to be learned is how to identify, and then utilize those familiar experiences for their creative ends.

One of the most startling observations about writing in general, to come from either of these books, is by Joan Clark. She says: "There's this terrible fear, that a writer is going to expose something that is insidious and dangerous; there's a real fear of artists in our society, there really is." The societal dangers of writing might be matched by the personal, according to Elisabeth Harvor. In many of her stories, she deals with very autobiographical topics, and this causes strife with family and friends. By extension, it also produced some negative feelings for the author herself. As she explains it: "But I also think that one of the main, and possibly not very honourable, reasons I want to write, is that I need to throw some version of what I think of as 'my story' down before the World Court of Readers. And to be acquitted." Writers Talking consists of interviews with eight lesser known writers, and includes a sample of their work. As a bonus (for writer and non-writer alike) each author then describes some of the techniques used in the story presented. This is a grand method to introduce (or 're-present,' as the editors put it) these authors to a readership, and proves to be very effective.

The authors in this compilation range from Mary Borsky and Elise Levine to Steven Heighton and K.D. Miller. Their offerings are not all short stories, but often 'extracted' from a longer work. An oddity (which quickly becomes a boon), is the inconsistency in the writers' presentations. Where one might expect an interesting interview to lead to interesting fiction, this is not always the case. Nor does the quality of the fiction equate to insight in the interview. And sometimes the explanation of technique leaves the reader no further ahead in understanding. One can not make assumptions, and the reader is kept on their toes. It proves to be exciting and challenging forage.

The interviews were conducted by mail, so there has been time for thoughtful and thorough response. It isn't clear if a standard questionnaire was used for the writers, but even if it was, the results are far from similar. Most of the authors seem to grab onto a point of interest (to them) and run with it. To be sure, there are a number of similarities of topic, but no rote or routine. Perhaps the desires of the interviewer are not present to guide the discussion.

Often, interviews with authors are supposed to show novice writers how to write. If someone picks up this book with that intent, then 'abandon hope all ye who enter here.' There is such a diversity of outlooks and opinions about writing and the creative process, that it is impossible to follow all of the divergent paths. Some writers start with 'plot,' others let 'plot' take care of itself. Some start with 'image,' some start with 'character.' Some write reams and reams, then edit to reveal the story, while others would agree with Lisa Moore, who says: "The more skilled a short story writer is, the less action she needs to write in order to create drama." One comes away from all the opinions in this book with many suggestions, and it is up to the individual reader/writer to test which best suits.

Many 'personal cum professional' observations appear in Writers Talking. It is enlightening to follow the development of both 'writing abilities' and 'career.' Canadian careers still seem wedded to literary magazines and small presses, which implies almost a sub-genre of books and authors. To attain a larger audience and recognition (and thus, a sustainable career), an author needs to (almost) enter the entertainment world, particularly if an international audience is sought. As K.D. Miller says: "Whatever it's all about, it's not about prizes or best-seller lists (Though I wouldn't turn my nose up at either.)."

The fiction presented in Writers Talking is, by and large, an interesting and entertaining collection. We are taken from such places as the inner workings of a restaurant in Japan by Steven Heighton in "Five Paintings Of The New Japan," to a phone call and three characters' interpretations of it in "Always The Snow" by Elise Levine. Mary Borsky masterfully reveals the workings of family and relationships in "The Ukrainian Shirt," while K.D. Miller offers a first person narration, realistic and selfish enough to make us wince, during the course of "A Litany In The Time Of Plague." None of the stories would be classed as experimental, and those from longer pieces stand well on their own.

It may be more for a writer's interest to peruse the 'author's notes' at the end of the fiction, but a general reader will also appreciate a peek into the 'inner workings.' There is a degree of intrigue in finding out how the story emerged, the amount of time it took to write, the changes made (and why) from discarded plot lines and ideas, to the use of dialogue and (here also) the concept of 'voice.' Sometimes we are also given the opinion of the writer about the work after the fact. Has it held up, is the author still pleased, and what changes might now be made if it were to be written anew?

A couple of the authors make a case for attempting something different in the writing, and the reader can decide if it has been successful or not. Michael Winter chooses not to use quotation marks for his dialogue, or apostrophes for contractions within his dialogue. He courts a 'deliberate confusion' by the reader to realize which character is speaking. He makes the assumption that the reader will ultimately have no difficulty keeping them apart.

Terry Griggs reaches for - and attains - an absurdist reality in "Momma Had A Baby." To blend different 'worlds' is one of the most difficult achievements in writing, and to add an element of 'Did that really happen?' humour into the mix is indeed daring. As the author herself says about the story: "It's sort of like stepping on loose gravel, and off you go, propelled with a certain velocity through the narrative."

Both The Voice is the Story and Writers Talking are well-produced paperbacks, trade format and comfortable to read. "Writers Talking" is slightly easier to follow, because the name of each interviewee is at the top of every page devoted to their section. However, "The Voice is the Story" does have a thorough index, and uses footnotes for each interview.

The temptation to end with three quotes will be succumbed to.

The first is not by any of the authors interviewed, but quoted by Michael Winter. It is by Norman Levine, and states: "The less a writer gives the reader, the better."

Steven Heighton says: "Writers teach themselves, by trial and failure …."

And finally, another author not interviewed states: "The only thing that matters about a story is whether it is alive or dead." And that was Mavis Gallant.