Laura Furman - The O Henry Prize Stories 2005

Здесь есть возможность читать онлайн «Laura Furman - The O Henry Prize Stories 2005» весь текст электронной книги совершенно бесплатно (целиком полную версию без сокращений). В некоторых случаях можно слушать аудио, скачать через торрент в формате fb2 и присутствует краткое содержание. Жанр: Современная проза, на английском языке. Описание произведения, (предисловие) а так же отзывы посетителей доступны на портале библиотеки ЛибКат.

The O Henry Prize Stories 2005: краткое содержание, описание и аннотация

Предлагаем к чтению аннотацию, описание, краткое содержание или предисловие (зависит от того, что написал сам автор книги «The O Henry Prize Stories 2005»). Если вы не нашли необходимую информацию о книге — напишите в комментариях, мы постараемся отыскать её.

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 unpublished, which does nothing to detract from the eminence of the ones collected here.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

The O Henry Prize Stories 2005 — читать онлайн бесплатно полную книгу (весь текст) целиком

Ниже представлен текст книги, разбитый по страницам. Система сохранения места последней прочитанной страницы, позволяет с удобством читать онлайн бесплатно книгу «The O Henry Prize Stories 2005», без необходимости каждый раз заново искать на чём Вы остановились. Поставьте закладку, и сможете в любой момент перейти на страницу, на которой закончили чтение.

Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

“Wow,” said Zubin. He was afraid Julia would go out before he could give her the essay.

“It was February and I’d been in Moscow for a year,” Julia's father said. “So you can imagine what India was like for me. We were staying in this pension in Benares-Varanasi-and every night there were these incredible parties on the roof.

“One night we could see the burning ghats from where we were- hardly any electricity in the city, and then this big fire on the ghat, with the drums and the wailing. I’d never seen anything like that-the pieces of the body that they sent down the river, still burning.” He stopped and refilled their glasses. He didn’t seem to mind the wine. “Maybe they don’t still do that?”

“I’ve never been to Benares.”

Julia's father laughed. “Right,” he said. “That's an old man's India now. And you’re not writing about India, are you?”

Writing the essay, alone at night in his room, knowing she was out somewhere with her school friends, he’d had the feeling, the delusion really, that he could hear her. That while she was standing on the beach or dancing in a club, she was also telling him her life story: not the places she’d lived, which didn’t matter, but the time in third grade when she was humiliated in front of the class; the boy who wrote his number on the inside of her wrist; the weather on the day her mother left for New York. He felt that her voice was coming in the open window with the noise of the motorbikes and the televisions and the crows, and all he was doing was hitting the keys.

Julia's father had asked a question about India.

“Sorry?” Zubin said.

He waved a hand dismissively in front of his face. “You don’t have to tell me-writers are private about these things. It's just that business guys like me-we’re curious how you do it.”

“When I’m here, I want to write about America and when I’m in America, I always want to write about being here.” He wasn’t slurring words, but he could hear himself emphasizing them: “It would have made sense to stay there.”

“But you didn’t.”

“I was homesick, I guess.”

“And now?”

Zubin didn’t know what to say.

“Far be it from me, but I think it doesn’t matter so much, whether you’re here or there. You can bring your home with you.” Julia's father smiled. “To some extent. And India's wonderful-even if it's not your first choice.”

It was easy if you were Julia's father. He had chosen India because he remembered seeing some dead bodies in a river. He had found it “wonderful.” And that was what it was to be an American. Americans could go all over the world and still be Americans; they could live just the way they did at home and nobody wondered who they were, or why they were doing things the way they did.

“I’m sure you’re right,” Zubin said politely.

Finally Julia's father pressed a buzzer and a servant appeared to clear the dishes. Julia's father pushed back his chair and stood up. Before disappearing into his study, he nodded formally and said something-whether “Good night,” or “Good luck,” Zubin couldn’t tell.

Zubin was left with a servant, about his age, with big, southern features and stooped shoulders. The servant was wearing the brown uniform from another job: short pants and a shirt that was tight across his chest. He moved as if he’d been compensating for his height his whole life, as if he’d never had clothes that fit him.

“Do you work here every day?” Zubin asked in his schoolbook Marathi.

The young man looked up as if talking to Zubin was the last in a series of obstacles that lay between him and the end of his day.

“Nahin, ” he said. “Mangalwar ani guruwar.”

Zubin smiled-they both worked on Tuesdays and Thursdays. “Me too,” he said.

The servant didn’t understand. He stood holding the plates, waiting to see if Zubin was finished and scratching his left ankle with his right foot. His toes were round and splayed, with cracked nails and a glaucous coating of dry, white skin.

“Okay,” Zubin said. “Bas.”

Julia's room was, as he’d expected, empty. The lights were burning and the stereo was on (the disc had finished), but she’d left the window open; the bamboo shade sucked in and out. The mirror in the bathroom was steamed around the edges-she must’ve taken a shower before going out; there was the smell of some kind of fragrant soap and cigarettes.

He put the essay on the desk where she would see it. There were two Radiohead CDs, still in their plastic wrappers, and a detritus of pens and pencils, hairbands, fashion magazines-French Vogue, Femina and YM - gum wrappers, an OB tampon and a miniature brass abacus, with tiny ivory beads. There was also a diary with a pale blue paper cover.

The door to the hall was slightly open, but the house was absolutely quiet. It was not good to look at someone's journal, especially a teenage girl’s. But there were things that would be worse-jerking off in her room, for example. It was a beautiful notebook with a heavy cardboard cover that made a satisfying sound when he opened it on the desk.

“It's empty.”

He flipped the diary closed but it was too late. She was climbing in through the window, lifting the shade with her hand.

“That's where I smoke,” she said. “You should’ve checked.”

“I was just looking at the notebook,” Zubin said. “I wouldn’t have read what you’d written.”

“My hopes, dreams, fantasies. It would’ve been good for the essay.”

“I finished the essay.”

She stopped and stared at him. “You wrote it?”

He pointed to the neatly stacked pages, a paper island in the clutter of the desk. Julia examined them, as if she didn’t believe it.

“I thought you weren’t going to?”

“If you already wrote one-”

“No,” she said. “I tried but-” She gave him a beautiful smile. “Do you want to stay while I read it?”

Zubin glanced at the door.

“My dad's in his study.”

He pretended to look through her CDs, which were organized in a zip-pered binder, and snuck glances at her while she read. She sat down on her bed with her back against the wall, one foot underneath her. As she read she lifted her necklace and put it in her mouth, he thought unconsciously. She frowned at the page.

It was better if she didn’t like it, Zubin thought. He knew it was good, but having written it was wrong. There were all these other kids who’d done the applications themselves.

Julia laughed.

“What?” he said, but she just shook her head and kept going.

“I’m just going to use your loo,” Zubin said.

He used it almost blindly, without looking in the mirror. Her towel was hanging over the edge of the counter, but he dried his hands on his shirt. He was drunker than he’d thought. When he came out she had folded the three pages into a small square, as if she were getting ready to throw them away.

Julia shook her head. “You did it.”

“It's okay?”

Julia shook her head. “It's perfect-it's spooky. How do you even know about this stuff?”

“I was a teenager-not a girl teenager, but you know.”

She shook her head. “About being an American I mean? How do you know about that?”

She asked the same way she might ask who wrote The Fairie Queene or the meaning of the word “synecdoche.”

Because I am not any different , he wanted to tell her. He wanted to grab her shoulders: If we are what we want, I am the same as you.

But she wasn’t looking at him. Her eyes were like marbles he’d had as a child, striated brown and gold. They moved over the pages he’d written as if they were hers, as if she were about to tear one up and put it in her mouth.

Читать дальше
Тёмная тема
Сбросить

Интервал:

Закладка:

Сделать

Похожие книги на «The O Henry Prize Stories 2005»

Представляем Вашему вниманию похожие книги на «The O Henry Prize Stories 2005» списком для выбора. Мы отобрали схожую по названию и смыслу литературу в надежде предоставить читателям больше вариантов отыскать новые, интересные, ещё непрочитанные произведения.


Отзывы о книге «The O Henry Prize Stories 2005»

Обсуждение, отзывы о книге «The O Henry Prize Stories 2005» и просто собственные мнения читателей. Оставьте ваши комментарии, напишите, что Вы думаете о произведении, его смысле или главных героях. Укажите что конкретно понравилось, а что нет, и почему Вы так считаете.

x