Most fiction writers write (or attempt to write) in a univocal voice (or "style"). Hemingway's voice differs from Faulkner's, Carver's from Fitzgerald's and so on. Difference, it seems fair to say, helps to establish their identity. By contrast, this collection of stories embodies an attempt, over the last 55 years or so, to write in the polyvocal. One can see this "attempt" as an "interruption" of the old by the start of something "new." The voice of each story, with the exception of #1, interrupts that of a preceding one—just as the birth of a child invariably interrupts the voices of its parents with a new voice. As a whole these stories fall into three (fuzzy?) genres, mystery, fantasy, romance. Their foundation is the polyvocal ("many voices"). A full explanation of the polyvocal cannot be given here. But its effect always includes what Derrida calls différance (in Cogito et histoire de la folie.) The voice in every story differs from that in any other story. In addition, the voice in each story "defers" the full meaning of individual genres. Polyvocal, that is, allows a genre to "subtract" meaning from one genre and allow it to "spread around" among different ones (please see Sukanta Chaudhuri The Metaphysics of Text: Cambridge UP 2011: Chp One). Consequently, one can then claim that with the polyvocal that "the way I write is not part of me." (please see Carl Haus, A Self Made of Words). Most of these stories have been published in journals like Weber, Isotope, WordRiver, Nw New Mexico Humanities Review, Western Humanities Review.