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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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She’d been gone for a year and a half and I had not heard word one. I knew where she had alighted and with whom, but had no street address, no lover's last name. Just major metropolitan area with this Rick she met at a conference. Work-related: how I hate having first scoured the want ads that brought us here to this town.

“You could just as easily hate the conference where she met him,” said my sister when I complained about having helped Fran find the job. That was when I was still fool enough to commiserate with family members and worlds-at-large. Back before, one by one, they all turned on me. Went from suggesting acupuncture to signing me up for some extended-stay hospital. People have no sympathy for the brokenhearted because it's what they fear the most. They pretend it's as minor and obligatory as having your wisdom teeth pulled, getting your heart ripped from your chest, having feral mutts tug-a-war the bloody organ in your kitchen while you lean white-veined against the rusty refrigerator, drowning in schmaltzy string arrangements.

So I had no one-only the Mexican migrants who offered cucumbers and water from the bossman's cooler and must have recognized in my desperate stride a fellow alien. The only person I got around to trading words with was the laconic, chain-smoking Deb-or so her name tag read-who worked at the market where I purchased my few provisions. It was a sticky-floored, dirty-ceilinged store which Fran had favored over the chain grocery because after the dogwoods bloomed Deb and her coworkers would take out the magazines in aisle seven and stock it with chilis and tortillas and even Spanish videos for the migrants.

One night I drove over to pick up my stock groceries: Band-Aids, ginger ale, Saltines, bulk raisins, chicken broth, and white rice. I could live off this list for weeks at a time. And had been doing so, and the pounds sweated away in the eighteen-mile runs, and there weren’t that many to leave puddling the road in the first place and so many times in the days after she left I would not have been able to tell you the correct use for, never even mind the name of, a fork.

“Give me one of those Pick Ten tickets,” I said when I had my groceries all lined up on the belt. Deb wasn’t there that night. In her place was a high-school boy. His head was chubby and dripping with red-blond lanks. Used to be, in a town like this you got beat up for wearing your hair long. Now the ones doing the beating are the only ones with their ears covered.

“You don’t want one of them,” said the boy.

So maybe he said want when he meant need -a mistake so many make. I had never been expert at figuring out what I needed until Fran left. Then I knew: I needed her. I needed her groaning first thing in the morning when I set the alarm to the local gospel station and our day began with a mass choir filling even the shoe-strewn closet bottoms with sonic interpretations of the word Jesus. Her tireless interest in the narrative of how we happened to find each other-that miracle recounted, with much attention paid to the extraordinary odds of it happening in this maddeningly flat world-how could I not need that? Each time she asked for it I felt as if I were narrating Genesis. How humans came sweet and innocent up from the earth. I believed I breathed and ate and performed reasonably well at one activity or the other before we met, but in telling that story over and again, in having it received with such lusty anticipation, I came to believe that my life started the moment I met her, the moment we laid waste to those insurmountable odds.

Odds are terrifying if you let yourself obsess over them. In the case of the Pick Ten lottery, I was not interested in the odds. It was a spontaneous thing, asking the cashier for a ticket. I had never once wasted money on such. But I did not care for being refused. I especially disliked being rejected by this boy whose sullen mannerisms implied that the wonder I had known with Fran was nothing more than some sappy song he’d scowl at while scanning radio stations. I believe I did nothing more than push his doughy chest with my fingers. I remember still the squishiness I encountered where I was expecting breastbone. Surely I was as shocked as he was.

“Hole up,” he said. Then: “Dude, what the hell?”

I held out a bill-a twenty, for which he made loud change. He was talking all the while, nervous jumble of words, “What the hell man I was just trying to help…”

Out in the parking lot I was afflicted by my own nervous jumble of words. “Oh, help, right, you were trying to help.” Now I am squatting beside my car in a dark, rain-steamy parking lot, tapping my forehead against the front quarter panel of the old rusty Nissan we bought together, repeating with the zeal of the clock-radio choir these words: I cannot do this can’t do it don’t want to do this without you.

I don’t know for how long: until my nose smashed against the metal and my face went funny-bone numb and I was dropped in a dusty dodge-ball field back of my grade school, lying in the infield inhaling the rubber of the ball that hit me and repeating that strange-to-me-then word I remembered seeing printed across the ball. Voit. Voit.

“What’d he say?” The voice was nasally but curious. Another voice answered, lower but seemingly female and black.

“Boat? Damn if I know.”

“He can’t do it without his boat,” said the nasal-voiced man. “Now what do you think he can’t accomplish without his boat?”

“Voit,” I said-indignantly-and was answered this time with a rib kick. I hit the pavement then. To feign what? Fear? Death? There was nothing left for me to fake. I knew then that since she left I’d faked everything. Or maybe the opposite was true; maybe I did not know emotion until it up and crawled in bed with me right along the same time she up and crawled in bed with her Rick.

I only know I felt more alive, stretched out on the oil-slick pavement, grimacing against the rib-kicks, than I had since she left. When the kicks would slow or cease I would scream, “Voit!” and soon every bone was numb. My arms and legs stung with pavement scrapes. I smelled that smell-you know the one-the smell of earliest physical pain. Hot rain laced with rust.

“Ain’t he about paid?” asked the black woman. Her low, hacking voice concealed a note of sympathy. I wanted to love her for it, but my ribs cried out for more kicks, as if someone had pulled the plug on a song to which I was dancing.

“Not from the sound of him,” said the leader. Obviously he knew need from want. But suddenly a new voice spoke up-“Y’all leave off him.” The cashier? Strange as it sounds, until then I had not made the connection. I wasn’t at all sure this was not something I wasn’t doing to myself, or that the weight of my desire had not provoked some miracle posse to torture me.

I opened my eyes-blinked up at the buggy aureole surrounding the yellow streetlight. The cashier stood above me smoking, but he seemed the least of my problems. The nasal-voiced man was dressed in coat and tie, a terrifying outfit for a man choreographing a beating. The black woman was neither: just a skinny shave-headed boy dressed, like me and the cashier, in shorts and T-shirt.

There was talk among them, profane and incomprehensible. I wasn’t listening. Fran kneeling beside me, ripping leeches from my skin. I protested hysterically. Fran swathing me in bandages, bedding down beside me in the grocery-store parking lot so slick with squashed lettuce leaves and spilt milk.

And then I passed into very familiar territory: boredom. I was exhausted, as I had often been in those days, by my inability to get over the hurt. I knew what I was going to feel before I felt it and it was stifling, sad, for what is death, finally, but not being able to even bring yourself to anticipate a surprise?

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