With its teasingly suspended ending, Alice Munro’s story both demands and resists closure: demands it in the sense that realistic treatment and pulsations of climax create a strong expectation of closure; resists it through internal contradictions that cancel tracks which would allow one to achieve a stable interpretation. This paper proposes that the story is best understood through the Gary Saul Morson’s concept of sideshadowing, a concept that views certain fictional works as explorations of presentness, of ongoing and resonant choices. A fuller treatment than the 2500 word sample below also amplifies contemporary critical approaches to closure and contrasts “Love of a Good Woman” with open-ended stories by Gabriel García Márquez and Javier Marías that do not produce sideshadowing.
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