Laura Furman - The O Henry Prize Stories 2005

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Usually, this is where the rhapsody would begin; strings would swell; breasts would be clasped with great feeling: The short story isn't dead; it lives!
I will abstain. If you're interested in The O. Henry Prize Stories 2005 at all, you're already an adherent of short prose, and know that it's alive and flourishing (as long as you can track it down on the smaller and smaller presses to which it's often relegated).
If the short story's cachet has evinced some decline over the course of the past century, it's a decline in public exposure and lucrative potential, not in quality. In terms of sales and public profile, the short story collection can't keep apace with the novel or pop nonfiction, but it's still absolutely kicking poetry's ass on all fronts, and, like poetry, remains in general more adventurous, fluid, and vitally modern than its novelistic big brother.
To review these stories in terms of their quality seems redundant – that they're terrific is a no-brainer. Entering its eighty-fifth year, The O. Henry Prize Stories consistently collects – I won't say the finest short fiction, but it collects inarguably exquisite short fiction published in the U.S. and Canada. We'll concede that there may be better stories out there, simmering under the radar or even (gasp!) unpublished, which does nothing to detract from the eminence of the ones collected here. This is a damn good read.
This year's edition was edited and introduced by Laura Furman, with a jury consisting of celebrated writers Cristina Garcia, Ann Patchett and Richard Russo. It's dedicated to Chekov upon the centenary of his death, which is forgivably predictable, given his pervasive influence on the short form. Besides illuminating notes from the writers on their work, the 2005 edition contains an essay by each of the judges on their favorite story, and a glossary of literary journals big and small that will be a valuable resource for writers and readers alike.
If quality is a given, it seems the best utility a review of the The O. Henry Prize Stories can have is to pick out the affinities between them and see (a) what writers were compelled to write about in the past year, (b) what editors were compelled to publish, and (c) which literary organs are currently in vogue. Word to the wise: If you'd like to win an O. Henry Prize, relentlessly submit to the New Yorker, which originally published no less than six of the twenty stories here, comfortably vanquishing silver-medallists The Kenyon Review and Zoetrope, who clock in with an admirable (if measly by comparison) two stories apiece.
No less than four stories in the volume revolve around music, all of which are deeply appreciative, none entirely trusting. Michael Palmer's atmospheric tale, "The Golden Era of Heartbreak", is haunted by a lovelorn trucker's song that carries everywhere in a town flattened by the departure of the narrator's wife. "My house filled to the eaves with this song," he states in his spare, lyrical tone, and the story is filled with it as well: The prose, like the town, is "flat as an envelope," and the trucker's song stretches spectrally across it.
A personal favorite of mine, Ben Fountain's "Fantasy for Eleven Fingers", is an elliptical, richly detailed character sketch in the vein of Millhauser or Hemon, about the intertwined destinies of two eleven-fingered pianists in nineteenth century Vienna, steeped in all the paranoia, political and ethnic tensions, and obsolete superstitions of the day.
In Timothy Crouse's "Sphinxes", a remarkably confident and unclassifiable tale, piano lessons, love affairs and subtle emotional maneuvering are braided together with increasing complexity until they become indistinguishable. In each of these stories, music is salvation and undoing, pure force and calculated metaphor: a paradox, a chimera, a sphinx.
And Gail Jones's "Desolation" is about a primal, alienating sexual encounter at a Death in Vegas concert, although it cross-references with the second type of story that heavily informs this year's volume, the community / exile story, which we're coming to just now.
Many stories in The O. Henry Prize Stories 2005 revolve around issues of community, but not the traditional, fixed community – these stories are about the provisional communities that arise in times of crisis, and the communities forged by travelers, strangers, souls in spiritual and physical exile.
Judge favorite "Mudlavia", a coming of age tale by Elizabeth Stuckey-French, finds a young boy and his mother in a health resort filled with questionable, exciting characters of colorful mien and shady provenance – slowly, away from their domineering father and husband, we watch them come alive to their own desires, desires that this alien context was necessary to draw out.
Another judge favorite, Ruth Prawer Jhabvala's period piece "Exile in London", evokes the faded aura of postwar London by way of the young narrator's recollections of the ragged diaspora in her aunt's boarding house. And Nell Freudenberger's "The Tutor" details the tensions, both sexual and cultural, between a prototypically American teenager in Bombay and her native Indian tutor.
But the finest story in The O. Henry Prize Stories 2005 has to be Sherman Alexie's "What You Pawn I Will Redeem", which describes the plight of a homeless, admittedly "crazy" Spokane Native American as he embarks on a day-long quest to raise one-thousand dollars to buy back his Grandmother's tribal regalia from a pawn shop. That the story's themes are large and poignant is obvious; what's remarkable is that it manages funny, hopeful, angry, and redemptive at once. The narrator's refusal to lapse into self-pity or misanthropy at his pathetic plight is counterintuitive yet rings true, and by the time the story reaches its conclusion, not-at-all inevitable and uncommonly generous of spirit, one feels every inch of his joy.
In the end, this is the short-story function that trumps all the others: The ability to vault the reader into realms of unanticipated joy. While not all the stories in The O. Henry Prize Stories 2005 achieve this as viscerally as Alexie's fable, each one loudly debunks any nonsense about the short story's obsolescence.

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Mariama Ekwensi, for one, had made her home on the ground floor of a small house in the white clay district for almost thirty years. She was a tall, rangy woman who had never lost the bearing of the adolescent girl she had once been, so dazed and bewildered by her own growth. The batik cotton dresses she wore were the color of the sun in a child's drawing, and her neighbors could always spot her coming from several blocks away. Mariama was a caretaker at one of the city's many orphanages. She thought of herself as a good teacher but a poor disciplinarian, and it was true that she often had to leave her children under the watch of another adult in order to chase after one who had taken off running. She read to the smaller children, books about long voyages, or about animals who changed shape, and she took the older ones to parks and museums and helped them with their homework. Many of them were badly behaved, with vocabularies that truly made her blush, but she found such problems beyond her talents. Even when she pretended to be angry with the children, they were clever enough to see that she still liked them. This was her predicament. There was one boy in particular, Philip Walker, who would light out toward the shopping district every chance he got. He seemed to think it was funny to hear her running along behind him, huffing and pounding away, and she never caught up with him until he had collapsed onto a stoop or a bench somewhere, gasping with laughter. One day, she followed him around a corner and chased him into an alley and did not come out the other end. Philip returned to the orphanage half an hour later. He could not say where she had gone.

Ville Tolvanen shot pool every night at the bar on the corner of Eighth and Vine. The friends he had at the bar were the same friends he had known when he was alive. There was something they used to say to each other when they went out drinking in Oulu, a sort of song they used to sing: “I’ll meet you when I die/At that bar on the corner of Eighth and Vine.” One by one, then, as they passed away, they found their way to the corner of Eighth and Vine, walked gingerly, skeptically, through the doors of the bar, and caught sight of one another by the pool tables, until gradually they were all reassembled. Ville was the last of the group to die, and finding his friends there at the bar felt almost as sweet to him as it had when he was young. He clutched their arms and they clapped him on the back. He insisted on buying them drinks. “Never again,” he told them. And though he could not finish the sentence, they all knew what he meant. He was grinning to keep his eyes from watering over, and someone tossed a peanut shell at him, and he tossed one back, and soon the floor was so covered with the things that it crunched no matter where they put their feet. For months after he died, Ville never missed a single night at the tables-and so when he failed to appear one night his friends went out looking for him. They headed straight for the room he had taken over the hardware store down the street, where they used their fists to bang on the door and then dislodged the lock with the sharp edge of a few playing cards. Ville's shoes were inside, and his wristwatch, and his jacket, but he was not.

Ethan Hass, the virologist, drank not in the bars but from a small metal flask that he carried on his belt like a Boy Scout canteen. He had been watching the developments in his field for thirty years before he died, reading the journals and listening to the gossip at the conventions, and it sometimes seemed to him that every government, every interest group, every faction in the world was casting around for the same thing, a perfect virus, one that followed every imaginable vector, that would spread through the population like the expanding ring of a raindrop in a puddle. It was clear to him now that somebody had finally succeeded in manufacturing it. But how on earth had it been introduced? He couldn’t figure it out. The reports from the recently dead were too few, and they were never precise enough. One day, he locked himself in the bathroom of the High Street

Art Museum and began to cry, insistently, sobbing out something about the air and the water and the food supply. A security guard was summoned. “Calm down, guy. There's plenty of air and water for you out here. How about you just open the door for us?” The guard used his slowest, most soothing voice, but Ethan only shouted, “Everybody! Everything!” and turned on the faucets of the sinks, one by one. He would not say anything else, and when the guard forced the door open a few minutes later he was gone.

It was as though a gate had been opened, or a wall thrown down, and the city was finally releasing its dead. They set out from its borders in their multitudes, and soon the parks, the bars, the shopping centers were all but empty.

One day, not long after the last of the restaurants had closed its doors, the blind man was standing on the steps of the church, waiting for someone who would listen to his story. No one had passed him all day long, and he was beginning to wonder if the end had come once and for all. Perhaps it had happened while he was sleeping, or during the half minute early that morning when he had thought he smelled burning honey. He heard a few car horns honking from different quarters of the city, and then, some twenty minutes later, the squealing of a subway train as its brakes gripped the tracks, and then nothing but the wind aspirating between the buildings, lingering, and finally falling still. He listened hard for a voice or a footstep, but he could not make out a single human sound.

He cupped his hands around his mouth. “Hello?” he shouted. “Hello?” But no one answered.

He experienced an unusual misgiving. He brought his hand to his chest. He was afraid that the heartbeat he heard was his own.

Michael Parker

The Golden Era of Heartbreak

from The Oxford American

AFTER SHE left, the town where we lived grew flat as an envelope. Sound carried: the song of a truck driver showering five miles east. Nothing could block his dirge. Long-distance misery leaking across the fields while he scrubbed away the road grime. He, too, had come home to a top drawer cleared of underwear.

I could hear him night and day, asking her forgiveness, beg your pardon, baby, for the times that she’d arrived home to find him gone. I knew from the rising strings that she’d never come back, that he would never get clean. Those strings: sweet Nelson Riddle arrangements, country meringue from the ’50s. Pinnacle of lovelorn lament. Fine time for misery.

My house filled to the eaves with this song. Moths waved in the soaring orchestration. They dusted the lampshades with it, painted the medicine-cabinet mirror. Up half the night trying not to listen, I reverted to an opinion I had given up forty years earlier, along about kindergarten: globes were wobbly lies. The earth was flat as the muted-by-miles-of-not-much-of-nothing notes of the trucker's song. Nowhere to hide and no escape, just sleep for the lucky and, for me, punishing runs.

After she left, I ran hundreds of miles along those low-shouldered roads. It got to where Mexican migrants would stop work to bring me a cucumber when I slashed past in the lethal early afternoon heat. Then the hospital, where they gave me medicine that turned me into a loaf of bread. The cheerful foreign doc asked me what year it was and I told him pointedly- I mean to say that I got up in his face so close that his pocked scars from a wicked case of acne were craters on a magnified moon-that the major daily of our Nations capital was contaminated because she had scoured its ads in want, want, want-I always got stuck on that word. I said to the doc, Her want spreads spores like anthrax. Say anthrax in one of those places. Is it an irony that registers on anyone but the inmate that you’re in there for behavior interpreted as less than rational, but when you say something crazy-which in that situation seems to me the norm-they shoot you full of more breadloaf? Though I confess I ate the ruffled paper cup that held my pills. I confess I’d have done anything to keep from returning to an earth leveled by her leaving.

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