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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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“You know what I hate?”

Zubin had a strange urge to touch her. It wasn’t a sexual thing, he didn’t think. He just wanted to take her hand. “What?”

“Crows.”

Zubin smiled.

“You probably think they’re poetic or something.”

“No.”

“Like Edgar Alan Poe.”

“That was a raven.”

“Edgar Allan Po etic .” She giggled.

“This kind of verbal play is encouraging,” Zubin said. “If only you would apply it to your practice tests.”

“I can’t concentrate at home,” Julia said. “There are too many distractions.”

“Like what?” Julia's room was the quietest place he’d been in Bombay.

“My father.”

The steps opened suddenly onto the temple tank: a dark green square of water cut out of the stone. Below them, a schoolgirl in a purple jumper and a white blouse, her hair plaited with two red ribbons, was filling a brass jug. At the other end a laborer cleared muck from the bottom with an iron spade. His grandmother had brought him here when he was a kid. She had described the city as it had been: just the sea and the fishing villages clinging to the rocks, the lush, green hills, and in the hills these hive-shaped temples, surrounded by the tiny colored houses of the priests. The concrete-block apartments were still visible on the Malabar side of the tank, but if you faced the sea you could ignore them.

“My father keeps me locked up in a cage,” Julia said mournfully.

“Although he lets you out for Fire and Ice,” Zubin observed.

“He doesn’t. He ignores it when I go to Fire and Ice. All he’d have to do is look in at night. I don’t put pillows in the bed or anything.”

“He's probably trying to respect your privacy.”

“I’m his kid. I’m not supposed to have privacy.” She sat down suddenly on the steps, but she didn’t seem upset. She shaded her eyes with her hand. He liked the way she looked, looking-more serious than he’d seen her before.

“Do you think it's beautiful here?” he asked.

The sun had gone behind the buildings, and was setting over the sea and the slum on the rocks above the water. There was an orange glaze over half the tank; the other, shadowed half was green and cold. Shocked-looking white ducks with orange feet stood in the shade, each facing a different direction, and on the opposite side two boys played an impossibly old-fashioned game, whooping as they rolled a worn-out bicycle tire along the steps with a stick. All around them bells were ringing.

“I think lots of things are beautiful,” Julia said slowly. “If you see them at the right time. But you come back and the light is different, or someone's left some trash, or you’re in a bad mood-or whatever. Everything gets ugly.”

“This is what your essay is about.” He didn’t think before he said it; it just came to him.

“The Banganga Tank?”

“Beauty,” he said.

She frowned.

“It's your idea.”

She was trying not to show she was pleased. Her mouth turned up at the corners, and she scowled to hide it, “I guess that's okay. I guess it doesn’t really matter what you choose.”

Julia was a virgin, but Anouk wasn’t. Anouk was Bernie's daughter; she lived in a fancy house behind a carved wooden gate, on one of the winding lanes at Cumbala Hill. Julia liked the ornamental garden, with brushed-steel plaques that identified the plants in English and Latin, and the blue ceramic pool full of lumpy-headed white-and-orange goldfish. Behind the goldfish pond was a cedar sauna, and it was in the sauna that it had happened. The boy wasn’t especially cute, but he was distantly related to the royal house of Jodhpur. They’d only done it once; according to Anouk that was all it took, before you could consider yourself ready for a real boyfriend at university.

“It's something to get over with,” Anouk said. “You simply hold your breath.” They were listening to the Shakira album in Anouk's room, which was covered with pictures of models from magazines. There were even a few pictures of Anouk, who was tall enough for print ads, but not to go to Europe and be on runways. She was also in a Colgate commercial that you saw on the Hindi stations. Being Anouk's best friend was the thing that saved Julia at the American School, where the kids talked about their fathers’ jobs and their vacation houses even more than they had in Paris. At least at the school in Paris they’d gotten to take a lot of trips-to museums, the Bibliothèque Nationale, and Monet's house at Giverny

There was no question of losing her virginity to any of the boys at school. Everyone would know about it the next day.

“You should have done it with Markus,” Anouk said, for the hundredth time, one afternoon when they were lying on the floor of her bedroom, flipping through magazines.

Julia sometimes thought the same thing; it was hard to describe why they hadn’t done it. They’d talked about it, like they’d talked about everything, endlessly, late at night on the phone, as if they were the only people awake in the city. Markus was her best friend-still, when she was sad, he was the one she wanted to talk to-but when they kissed he put his tongue too far into her mouth and moved it around in a way that made her want to gag. He was grateful when she took off her top and let him put his hand underneath her bra, and sometimes she thought he was relieved too, when she said no to other things.

“You could write him,” Anouk suggested.

“I’d love him to come visit,” Julia allowed.

“Visit and come.”

“Gross.”

Anouk looked at her sternly. She had fair skin and short hair that flipped up underneath her ears. She had cat-shaped green eyes exactly like the ones in the picture of her French grandmother, which stared out of an ivory frame on a table in the hall.

“What about your tutor?”

Julia pretended to be horrified. “Zubin?”

“He's cute, right?”

“He's about a million years older than us.”

“How old?”

“Twenty-nine, I think.”

Anouk went into her dresser and rummaged around. “Just in case,” she said innocently, tossing Julia a little foil-wrapped packet.

This wasn’t the way it was supposed to go-you weren’t supposed to be the one who got the condom-but you weren’t supposed to go to high school in Bombay, to live alone with your father, or to lose your virginity to your SAT tutor. She wondered if she and Zubin would do it on the mattress in his room, or if he would press her up against the wall, like in 9 Weeks.

“You better call me, like, the second after,” Anouk instructed her.∀

She almost told Anouk about the virginity dream, and then didn’t. She didn’t really want to hear her friend's interpretation.

It was unclear where she and Markus would’ve done it, since at that time boys weren’t allowed in her room. There were a lot of rules, particularly after her mother left. When she was out, around eleven, her father would message her mobile, something like: WHAT TIME, MISSY? or simply, ETA? If she didn’t send one right back, he would call. She would roll her eyes, at the café or the party or the club, and say to Markus, “My dad.”

“Well,” Markus would say. “You’re his daughter.”

When she came home, her father would be waiting on the couch with a book. He read the same books over and over, especially the ones by Russians. She would have to come in and give him a kiss, and if he smelled cigarettes he would ask to see her bag.

“You can’t look in my bag,” she would say, and her father would hold out his hand. “Everybody else smokes,” she told him. “I can’t help smelling like it.” She was always careful to give Markus her Dunhills before she went home.

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