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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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He’d resolved immediately to return the sweater, and then he had looked in the mirror. What he saw surprised him: someone small but good-looking, with fine features and dark, intense eyes, the kind of guy a girl, not just a girl from home but any girl-an American girl-might find attractive.

And he wanted one of those: there was no use pretending he didn’t. He watched them from his first-floor window, as close as fish in an aquarium tank. They hurried past him, laughing and calling out to one another, in their boys’ clothes: boots, T-shirts with cryptic messages, jeans worn low and tight across the hips. You thought of the panties underneath those jeans, and in the laundry room you often saw those panties: impossibly sheer, in incredible colors, occasionally, delightfully torn. The girls folding their laundry next to him were entirely different from the ones at home. They were clearly free to do whatever they wanted-a possibility that often hit him, in class or the library or on the historic brick walkways of the Radcliffe Quad, so intensely that he had to stop and take a deep breath, as if he were on the point of blacking out.

He wore Jason's sweater every day, and was often too warm; the classrooms were overheated and dry as furnaces. He almost never ran into Jason, who had an active and effortless social schedule to complement his rigorous athletic one. And so it was a surprise, one day in late October, to come back to the room and find his roommate hunched miserably over a textbook at his desk.

“Midterms,” Jason said, by way of an explanation. Zubin went over and looked at the problem set, from an introductory physics class. He’d taken a similar class at Cathedral; now he laid out the equations and watched as Jason completed them, correcting his roommate's mistakes as they went along. After the third problem Jason looked up.

“Man, thanks.” And then, as if it had just occurred to him. “Hey, if you want to keep that-”

He had managed so completely to forget about the sweater that he almost didn’t know what Jason meant.

“It's too small for me anyway.”

“No,” Zubin said.

“Seriously. I may have a couple of others too. Coach has been making us eat like hogs.”

“Thanks,” Zubin said. “But I want something less preppy.”

Jason looked at him.

“No offense,” Zubin said. “I’ve just been too fucking lazy. I’ll go tomorrow.”

The next day he went back to the Co-op with his almost-new textbooks in a bag. These were for his required classes (what they called the Core, or general knowledge), as well as organic chemistry. If you got to the reserve reading room at nine, the textbooks were almost always there. He told himself that the paperbacks for his nineteenth-century novel class weren’t worth selling-he’d bought them used anyway-and when he took the rest of the books out and put them on the counter, he realized he had forgotten the Norton Anthology of American Literature in his dorm room. But the books came to $477.80 without it. He took the T downtown to a mall where he bought a down jacket for $300, as warm as a sleeping bag, the same thing the black kids wore. He got a wool watchman's cap with a Nike swoosh.

When he got home, Jason laughed. “Dude, what happened? You’re totally ghetto.” But there was approval in it. Folding the brown sweater on Jason's bed, Zubin felt strong and relieved, as if he had narrowly avoided a terrible mistake.

Julia had been having a dream about losing it. There was no sex in the dream; she couldn’t remember whom she’d slept with, or when. All she experienced was the frustrating impossibility of getting it back, like watching an earring drop and scatter in the bathroom sink, roll and clink down the drain before she could put her hand on it. The relief she felt on waking up every time was like a warning.

She had almost lost it in Paris, before they moved. He was German, not French, gangly but still handsome, with brown eyes and blondish hair. His name was Markus. He was a year ahead of her at the American School and he already knew that he wanted to go back to Berlin for university, and then join the Peace Corps. On the phone at night, he tried to get her to come with him.

At dinner Julia mentioned this idea to her family.

“You in the Peace Corps?” said her sister Claudia, who was visiting from New York. “I wonder if Agnès B. makes a safari line?”

When Claudia came home, she stayed with Julia on the fourth floor, in the chambre de bonne where she had twin beds and her Radiohead poster, all her CDs organized by record label and a very old stuffed monkey named Frank. The apartment was half a block from the Seine, in an old hotel on the Rue des Saint-Pères; in the living room were two antique chairs, upholstered in red-and-gold-striped brocade, and a porcelain clock with shepherdesses on it. The chairs and the clock were Louis XVI, the rugs were from Tehran, and everything else was beige linen.

Claudia, who now lived with her boyfriend in a railroad apartment on the Lower East Side, liked to pretend she was poor. She talked about erratic hot water and rent control and cockroaches, and when she came to visit them in Paris she acted surprised, as if the houses she’d grown up in-first San Francisco, then Delhi, then Dallas, Moscow and Paris-hadn’t been in the same kind of neighborhood, with the same pair of Louis XVI chairs.

“I can’t believe you have a Prada backpack,” she said to Julia. Claudia had been sitting at the table in the kitchen, drinking espresso and eating an orange indifferently, section by section. “Mom's going crazy in her old age.”

“I bought it,” Julia said.

“Yeah, but with what?”

“I’ve been selling my body on the side-after school.”

Claudia rolled her eyes and took a sip of her espresso; she looked out the window into the little back garden. “It's so peaceful here,” she said, proving something Julia already suspected: that her sister had no idea what was going on in their house.

It started when her father's best friend, Bernie, left Paris to take a job with a French wireless company in Bombay. He’d wanted Julia's father to leave with him, but even though her father complained all the time about the oil business, he wouldn’t go. Julia heard him telling her mother that he was in the middle of an important deal.

“This is the biggest thing we’ve done. I love Bernie-but he's afraid of being successful. He's afraid of a couple of fat Russians.”

Somehow Bernie had managed to convince her mother that Bombay was a good idea. She would read the share price of the wireless company out loud from the newspaper in the mornings, while her father was mak- ing eggs. It was a strange reversal; in the past, all her mother had wanted was for her father to stay at home. The places he traveled had been a family joke, as if he were trying to outdo himself with the strangeness of the cities- Istanbul and Muscat eventually became Tbilisi, Ashkhabad, Tashkent. Now, when Julia had heard the strained way that her mother talked about Bernie and wireless communication, she had known she was hearing part of a larger argument-known enough to determine its size, if not its subject. It was like watching the exposed bit of a dangerous piece of driftwood, floating just above the surface of a river.

Soon after Claudia's visit, in the spring of Julias freshman year, her parents gave her a choice. Her mother took her to Galeries Lafayette, and then to lunch at her favorite crêperie on the Ile Saint-Louis, where, in between galettes tomate-fromage and crêpe pomme-chantilly , she told Julia about the divorce. She said she had found a two-bedroom apartment in the West Village: a “feat,” she called it.

“New York will be a fresh start-psychologically,” her mother said. “There's a bedroom that's just yours, and we’ll be a five-minute train ride from Claudie. There are wonderful girls’ schools- I know you were really happy at Hockaday-”

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