Giles Harvey

They were particularly stunning because so many of Monroe's stories deal with themes of child sexual abuse. Her characters are often abused children who largely remain silent and women whose husbands keep damning secrets from them. What Andrea wrote in her essay, it sounded like something from an Alice Munro story.

I wanted to take Andrea up on something she wrote, that she hoped her own story would become a part of the stories people tell about her mother and her work. So I wrote to Andrea and asked if she'd be willing to talk to me. I spent hours talking with her and her siblings for this article, and I also read or re-read much of Alice Munro's fiction.

The story I ended up writing, which you'll hear in this week's Sunday Read, examines the question of whether and to what extent it's possible to separate the art from the artist. I was interested in what Monroe's stories might have to tell us about what happened to Andrea, but also in how Andrea's revelations might allow us to see something new about the stories themselves.

And I came away with the sense that Monroe seems to have been saying in fiction the things that she was unable to say in real life. Many of the stories now feel almost like admissions of guilt or coded apologies. But at the same time, I was struck by just how masterfully and how quickly she was able to transform her grief and anger and her failings as a mother into fiction of the highest order.

There's one short story called Vandals, which was published in The New Yorker in 1993, about a year after Andrea finally revealed to Monroe what had happened to her as a child. In the story, a middle-aged army veteran is revealed to have sexually abused a young girl and possibly her brother as well. And the female protagonist, who's fallen for this man, remains willfully blind to what's going on.

It's only years later that it seems to become clear to her what her partner was doing to these children. And it's very hard not to see a story like that now as in some way about Andrea's abuse and Monroe's relationship with Fremlin. I talked about this with Andrea as I made my way through her mother's work.

And I remember saying to her at one point, you know, it feels like in the later part of her career, when your mother wrote again and again about these terrible marriages in which the women feel trapped or helplessly dependent on their husbands, it feels almost as though she was painting the bars of her own cage.

She won just about every award a writer could win, including the Nobel Prize. And when she died last May, at the age of 92, there was a huge outpouring from admirers. People not only celebrating her work, but also saying what a decent person she seemed to have been. She had an almost saintly reputation. In fact, in Canada, she was widely known as Saint Alice.

And Andrea responded by hearing that she was able to be more understanding of her mother, which was not something she normally felt. She also made it very clear that she doesn't forgive her mother, and she certainly doesn't forgive her stepfather.

But what happened to Andrea, as much as it might resemble her mother's fiction, is different from an Alice Munro story in at least one important respect. In the end, the survivor spoke out. So here's my article, read by Simon Vance. Our audio producer is Adrian Hurst, and our music was written and performed by Aaron Esposito. Thanks for listening.

Hi, my name's Giles Harvey, and I'm a contributing writer for the New York Times Magazine, where I often cover literature and the literary world. For many years, one of my favorite authors has been Alice Munro, the Canadian short story writer. Like a lot of people, I came to think of Monroe as perhaps the greatest English language writer of her time.

So what we learned about her after her death was incredibly shocking. Two months after she died, an essay came out in the Toronto Star. It was written by Monroe's youngest daughter, Andrea Skinner, and in the essay, Andrea revealed that she was sexually abused as a child by Monroe's second husband, Gerald Fremlin.

Andrea kept the abuse secret from her mother for many years because she believed it would devastate her. But when she finally did tell her mother, Monroe responded coldly, as though Andrea had somehow betrayed her. Monroe ultimately chose to remain with her husband. Like everyone else, I was shocked and enraged when I read these revelations.