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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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“Can I buy y’all dinner?” I said.

Once I heard a teacher say that a sure way to change things was to honor opposite impulses. See where they take you. At the time-I was an impressionable young student with pen poised and mind open-this advice seemed a simple answer to the most difficult question there is: how to get across the room. I wanted to live my life scathed but not bleeding. This was before Fran came and well before she went, ages before such advice on How to Change would have struck me, before I even heard it, as superficial fluff to sell magazines in a checkout line.

Crouched by my car, I remembered that I had never actually tried this tactic, intentionally at least. I was all the time doing things I didn’t want to do, and saying the opposite of what I felt, but that was to me the only possible way to live this life.

In the car the man in the tie introduced himself as Darren. The other one, of the shorn head and confusing voice, went unnamed. The clerk had long ago sighed and disappeared inside the market.

We drove along the river road toward Albemarle Sound. I never named a restaurant, for it did not feel as if we were stepping out for a bite. It felt more like they were driving me to their clubhouse, some cinder-block hut down in the swamp bottom, where they would torture me with country music of the black-hat Vegas variety and perhaps a little later, when the bottles grew light, a stun gun. Out the window I watched Bell Island, where the schoolkids once hijacked the ferry that brought them across the sound to school and rode around the inlet smoking dope until the Coast Guard escorted them back in. Bell Island kept pace with the sunken Olds and I imagined the inside of the clubhouse, the club colors draped over cinder block and flanked with porn centerfolds.

“You going to get along all right without your boat?” Darren said.

“V-O-I-T. Like a dodgeball?”

“What a dodgeball has to do with you breaking bad on my boy Kirk I ain’t even going ask.”

I started in on a meditation about memory, how we all lived in closets cluttered with primal objects of childhood. Rosebud. Fran, come home. In the middle of a sentence I stopped, for we all had stopped-the driver had coasted still in the middle of the road, Darren was half turned to watch me.

I said, to turn it back on them, “I think maybe what happened was that y’all hurt some part of my brain that stored, you know, old stuff like dodgeballs.”

“We ain’t hurt shit,” said the driver, stepping indignantly on the gas. “You were already fried when we got there.”

I fell back into the seat. What could I say? It seemed time to deliver myself to whatever course of action I had set in motion by pushing the cashier in his pliant chest. I thought of a Halloween carnival in grade school, being blindfolded and having my hand plunged into a vat of Jell-O standing in for crushed eyeballs. I believed I laughed a little to myself, a little leak of laughter like air out of a tire which cemented whatever opinion my companions had of me, for they talked in low, brooding voices and I could not even muster up the energy to eavesdrop.

We arrived finally at a restaurant I did not recognize. I knew only that we were headed south, and could feel from the elements, from the song of tree frogs and the lonesome whine of the tires on rough pavement, that we were headed toward the Sound. I spent the last few miles of the trip listening to the road-grimy trucker beg for his baby back. Outside it was deep-country black except for a buzzing streetlight leaning above a pier over the water, casting a thin sheen on the rippling shallows. The establishment-from the low, vinyl-sided looks of it, a modular-unit, short-order grill-was obviously closed for the night. Dry-docked trawlers listed precariously in the parking lot. The scene felt illicit, excitedly so, as if we’d come to score drugs or rob someone. I thought, fleetingly, that I had found something to take the place of my fiercely coddled misery, but was quickly sucked under by those insipid strings, which dragged me to the bottom of the black sound.

The driver had a key to the restaurant. Darren ordered him to bring us beers and fry up some shrimp burgers. He said to me, “What the hell do you eat?”

“Not much from the looks of him,” called the driver from a kitchen, lit only by the lights of freezers he was rooting around in.

“I’m on a diet,” I said. A diet with its own soundtrack. The heartbreak diet.

“The thing about diets is all these people starving to death and these rich fuckers on a damn diet.” This line sputtered out from the darkened kitchen.

“Your point?” Darren said to the shadows.

“Ones that can afford to eat lobster every night going around starving. Bet they ain’t sending the money they save over to Africa.”

The driver brought us beers. I left mine untouched. Darren said, “His point is a good one, wouldn’t you say?”

“I’m not rich.”

“You’re just skinny and stupid.”

It seemed time to protest, to ask why we were here, alone in the south end of the county, where not only corpses but corpses still seat-belted into cars turned up in sullen lagoons. But instead I leaned forward and said, “I’m not real hungry.”

“Bring him some coleslaw,” said Darren. He squinted my way. “What's your problem?”

I said, “What do you mean?” though I knew exactly what he meant.

“Going off on Kirk for no reason, beating your head upside your car. Calling out for some damn dodgeball.”

“I guess I’m lonely,” I said. He widened his eyes, as if suddenly I had come into focus for him, and I added, “is all.”

“You ever had anyone die on you?” he asked, wincing slightly, as if it took great effort to send his words my way.

“Yes,” I lied. Maybe this was the worst lie I’d ever told-out of the dozens Fran knew about, the ones that passed undetected. She wasn’t dead; I was dead to her, maybe, but she lived and breathed and was, at that moment, getting on toward bedtime on a Wednesday night in late spring, no doubt moving against some Rick she met at a conference, and the thought of anyone else touching her in the places I’d discovered made me claim now all degrees of suffering as my own.

“You’re lying,” he said. The driver set a huge bowl of soupy coleslaw in front of me, a fresh beer for Darren. He laid out the place settings, lining up the fork and knife with a prissiness that amused me, given our surroundings.

“He's definitely lying,” the driver said, his words lingering as he disappeared back into the kitchen.

From the kitchen came the hiss of frozen meat dropped into a fryer. I tried hard to summon my song, those strings that had driven me out of the house and into the arms of fate; I tried to focus on the trucker's lament, but the tree frogs, the sibilance of fried meat, the buzz of the streetlights kept my song away.

“You think it's all up to you, don’t you?” said Darren.

I thought he wasn’t who he said he was. I thought Fran had sent him, or maybe the pathetic trucker wailing away the hours as he tried to scrub away his sins. My comrade in want, sending his messenger to set me straight. I thought Darren was not real and I asked him just who he was to the cashier. Friend? I said. Second cousin?

He looked through me and repeated: “Up to you, huh?”

I shrugged, mindful of what my shrug suggested: that the weight of the world was not upon me.

Darren shook his head, burped, pushed his chair back, summoned his driver, who had been eating back in the kitchen, as if he knew his place in the world.

“Get the bag out of the trunk,” said Darren. To me he said, “Let's get.”

I rose and followed, queasy from the coleslaw. I was thirsty, too, and exhausted, yet I felt oddly settled. Docility was the answer? I could have apprenticed myself to the migrants, their crooked crew boss, had I only known.

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