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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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“Oh.”

“Is this okay?”

“It's okay, but-”

“I get so tired.”

“Because of the nightmares.”

She paused for a second, as if she was surprised he’d been paying attention. “Yes,” she said. “Exactly.”

“You want to lie down a minute?”

She jerked her head up-nervous all of a sudden. He liked it better than the flirty stuff she’d been doing before.

“Or I could get someone to take you home.”

She lay down and shut her eyes. He put his glass down carefully on the floor next to the bed. Then he put his hand out; her hair was very soft. He stroked her head and moved her hair away from her face. He adjusted the glass beads she always wore, and ran his hand lightly down her arm. He felt that he was in a position where there was no choice but to lift her up and kiss her very gently on the mouth.

“Julia.”

She opened her eyes.

“I’m going to get someone to drive you home.”

She got up very quickly and smoothed her hair with her hand.

“Not that I wouldn’t like you to stay, but I think-”

“Okay,” she said.

“I’ll just get someone.” He yelled for the servant.

“I can get a taxi,” Julia said.

“I know you can” he told her. For some reason, that made her smile.

In September she took the test. He woke up early that morning as if he were taking it, couldn’t concentrate, and went to Barista, where he sat trying to read the same India Today article about regional literature for two hours. She wasn’t the only one of his students taking the SAT today, but she was the one he thought of, at the eight forty subject change, the ten-o’clock break, and at eleven twenty-five, when they would be warning them about the penalties for continuing to write after time was called. That afternoon he thought she would ring him to say how it had gone, but she didn’t, and it wasn’t until late that night that his phone beeped and her name came up: JULIA: VERBAL IS LIKE S-SPEARE: PLAY. It wasn’t a perfect analogy, but he knew what she meant.

He didn’t see Julia while the scores were being processed. Without the bonus he hadn’t been able to give up his other clients, and the business was in one of its busy cycles; it seemed as if everyone in Bombay was dying to send their sixteen-year-old child halfway around the world to be educated. Each evening he thought he might hear her calling up from the street, but she never did, and he didn’t feel he could phone without some pretense.

One rainy Thursday he gave a group lesson in a small room on the first floor of the David Sassoon library. The library always reminded him of Oxford, with its cracked chalkboards and termite-riddled seminar tables, and today in particular the soft, steady rain made him feel as if he were somewhere else. They were doing triangles (isosceles, equilateral, scalene) when all of a sudden one of the students interrupted and said: “It stopped.”

Watery sun was gleaming through the lead-glass windows. When he had dismissed the class, Zubin went upstairs to the reading room. He found Bradbury in a tattered ledger book and filled out a form. He waited while the librarian frowned at the call number, selected a key from a crowded ring, and, looking put-upon, sent an assistant into the reading room to find “All Summer in a Day” in the locked glass case.

It had been raining for seven years; thousands upon thousands of days compounded and filled from one end to the other with rain, with the drum and gush of water, with the sweet crystal fall of showers and the concussion of storms so heavy they were tidal waves come over the islands.

He'd forgotten that the girl in the story was a poet. She was different from the other children, and because it was a science fiction story (this was what he loved about science fiction) it wasn’t an abstract difference. Her special sensitivity was explained by the fact that she had come to Venus from Earth only recently, on a rocket ship, and remembered the sun-it was like a penny-while her classmates did not.

Zubin sat by the window in the old seminar room, emptied of students, and luxuriated in a feeling of potential he hadn’t had in a long time.

He remembered when a moment of heightened contrast in his physical surroundings could produce this kind of elation; he could feel the essay wound up in him like thread. He would combine the Bradbury story with the idea Julia had had, that day at the tank. Beauty was something that was new to you. That was why tourists and children could see it better than other people, and it was the poet's job to keep seeing it the way the children and the tourists did.

He was glad he’d told her he couldn’t do it because it would be that much more of a surprise when he handed her the pages. He felt noble. He was going to defraud the University of California for her gratis, as a gift.

He intended to be finished the day the scores came out and, for perhaps the first time in his life, he finished on the day he’d intended. He waited all day, but Julia didn’t call. He thought she would’ve gone out that night to celebrate, but she didn’t call the next day, or the next, and he started to worry that she’d been wrong about her verbal. Or she’d lied. He started to get scared that she’d choked-something that could happen to the best students, you could never tell which. After ten days without hearing from her, he rang her mobile.

“Oh yeah,” she said. “I was going to call.”

“I have something for you,” he said. He didn’t want to ask about the scores right away.

She sighed. “My dad wants you to come to dinner anyway.”

“Okay,” Zubin said. “I could bring it then.”

There was a long pause, in which he could hear traffic. “Are you in the car?”

“Uh-huh,” she said. “Hold on a second?” Her father said something and she groaned into the phone. “My dad wants me to tell you my SAT scores.”

“Only if you want to.”

“Eight hundred math.”

“Wow.”

“And six-ninety verbal.”

“You’re kidding.”

“Nope.”

“Is this the Julia who was too distracted to do her practice tests?”

“Maybe it was easy this year,” Julia said, but he could tell she was smiling.

“I don’t believe you.”

“Zu bin !” (He loved the way she added the extra stress.) “I swear.”

They ate coquilles St. Jacques by candlelight. Julias father lit the candles himself, with a box of old-fashioned White Swan matches. Then he opened Zubin's wine and poured all three of them a full glass. Zubin took a sip; it seemed too sweet, especially with the seafood. “A toast,” said Julia's father. “To my daughter the genius.”

Zubin raised his glass. All week he’d felt an urgent need to see her; now that he was here he had a contented, peaceful feeling, only partly related to the two salty dogs he’d mixed for himself just before going out.

“Scallops are weird,” Julia said. “Do they even have heads?”

“Did any of your students do better?” her father asked.

“Only one, I think.”

“Boy or girl?”

“What does that matter?” Julia asked. She stood up suddenly: she was wearing a sundress made of blue-and-white printed Indian cotton, and she was barefoot. “I’ll be in my room if anyone needs me.”

Zubin started to get up.

“Sit,” Julia's father said. “Finish your meal. Then you can do whatever you have to do.”

“I brought your essay-the revision of your essay,” Zubin corrected himself, but she didn’t turn around. He watched her disappear down the hall to her bedroom: a pair of tan shoulders under thin, cotton straps.

“I first came to India in 1976,” her father was saying. “I flew from Moscow to Paris to meet Julia's mom, and then we went to Italy and Greece. We were deciding between India and North Africa-finally we just tossed a coin.”

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