Postcards, one-sided narratives or "open-faced narratives," have been used in short fiction pieces by many writers and in this essay, Stephanie Coyne DeGhett discusses six authors and stories: Hempel's "The New Lodger," Kaplan's "Love, Your Only Mother," Paley's "A Woman, Young and Old," Munro's "Postcard," Proulx's "Brokeback Mountain," and Millhauser's "The Sepia Postcard."
My favorite point that DeGhett makes is that,
"Of its readers, it (a postcard) demands an ability to write the story you are reading yourself, to fill in the gaps between the frame story and the small disclosures of the postcard, to see the disjunctions of meaning and layers of intention."
To me that is what a short story does and so a postcard is a short story of a short story, so to speak. This is an interesting article and one to hang on to for re-reading. There are many thoughts about short fiction that I want to revisit.
"…the postcard serves economy in the fiction that appropriates it by virtue of the associations it carries with it--travel, separation, impermanence--and its potential to subvert those associations…"
"Cryptic but not uncommunicative, the story shares a good deal in common with the nature of the picture postcard."
DeGhett's essay is in the December 2013 issue of The Writer's Chronicle.