Implied in the story’s movement is whether anyone has the right to editorialize individuals’ aspirations at all. The titular dish sets the stage for a cornucopia of senses as aspirations. This is perhaps best exemplified in the magnificent “Peking Duck,” which isn’t metafictional exactly, but nonetheless unpacks the mythologies of its plot. Many of the stories work a similar deconstruction of tropes-the love affair, the friendship fostered by drug addiction, the tenuous nature of academic relationships-and rearrange them to accentuate how time and random exposure to other human beings distresses one’s consciousness. Rather than a reenactment of the trauma plot, readers are instead asked to ponder why the narrator is still attached to the toxic relationship: public safety or revenge.

The whistleblowing, the response to it, and the ensuing events interrogate whether the ex-boyfriend was preordained to repeat his past behavior. Yet despite her aversion to the support group she was talked into joining, the desire to communicate the story of her abuse to her ex’s new girlfriend is too great. The narrator of “Oranges,” for example, doesn’t need to follow her abusive ex-boyfriend home to settle a score (his life is perpetually in shambles), and it’d probably be better for her psyche if she didn’t. Freed from the constraints of allegory or standard-issue plot mechanics, readers are instead left to reflect on more essential things, most prominently, humanity’s ability to absorb and inflict harm.

This initial story sets the tone for Bliss Montage’s woozy relationship with plausibility.

Call it speculative fiction if you want, but the ground situation that informs “Los Angeles”-the wife of a wealthy investor shares their domestic compound with all 100 of her ex-boyfriends-is about as reasonable as homeless University of California students being “allowed” to sleep in their cars on campus.

Nevertheless, the collection guts and renovates the genre by refusing to draw a distinction between realism and fable. Bliss Montage (Farrar, Straus and Giroux), Ling Ma’s second book and first collection of stories, is ostentatious in neither syntax nor storytelling.

Bliss montage stories