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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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Several times I read the Missal as far as the Minor Elevation, the part of the Mass just after you pray for the dead. Per omnia saecula saeculorum. Amen. World without end. Amen. But I was trying to learn Latin with phonetics-the Missal was Latin on one side, English on the other-and, needless to say, my comprehension was zero, and I was always finding myself back at the beginning, starting over. Per omnia saecula saeculorum, amen!

Most of our schoolwork focused on how to get into Heaven. Sister Eulalia, the catechism nun, taught us about sin and the opportunities for salvation. She was a short, wide old woman with thick glasses and blue eyes that drifted behind them like tropical fish. She kept calling Jesus the Holy Victim and the Word Made Flesh and the Unspotted Sacrifice. She said that sacrifice didn’t mean to kill but to make holy. We are made in the image of God's great mystery but through our ignorance and despair our vision is clouded. Salvation, she told us, is our presence in a bright light where we at last become the perfect image and reflection of our Creator.

We saw a slide show on the scapular. A boy was riding by a gas station on his bicycle. A man was pumping gas and a family was waiting in a car. Then the gas station was blowing up and the boy was flying through the air. Everybody died but the boy, who was wearing his scapular. Sister Eulalia passed around blank order forms and said to fill them out and bring $2.50 if you thought it was prudent to have a scapular for yourself. I’d spent all my money on grapefruits, though.

At night, in bed, I practiced my prayers. We had to memorize so many at the Home: Our Father, Hail Mary, Glory Be, Act of Faith, of Hope, of Love, of Contrition. Praying either put me to sleep or made me think of girls. Once, I passed a girl a note during class and Sister Josephine, the discipline nun, intercepted it and said someone my age doesn’t know the least thing about love and shouldn’t use that word the way I did. That kind of love is special, she said. It's a rare gift from God, it's the consummation of a union, and it's certainly nothing for children. Sister Josephine called it The Marriage Act. It's embarrassing for me to admit, but she made me cry, she was yelling so much. I never sent another note. Still, I attached a vague feeling of hope to different girls, a feeling of, I don’t know, of whatever, that came out, some nights, when I said prayers.

We had to learn the prayers because we prayed for everything: we prayed for food, we prayed for sleep, we prayed for new basketballs. Three times a day, Sister Catherine, the food nun, took us to the church cafeteria for our meals. Volunteer ladies served us-they were all old and kind and had science-fiction hair, clouds of blue gas, burning white-hot rocket fuel, explosions of atomic frizz. I loved the endless stacks of white bread and the cold slabs of butter. When the nuns said I was underfoot, I went downstairs and studied the encyclopedias or read Latin or went outside and shot buses with my pump gun. Buses passed the Home every twenty-six minutes. I built up my arm pitching rocks at a tree until a circle of pulpy white wood was exposed in the bark. One afternoon I planted a sunflower in a milk carton.

I longed to go somewhere but there wasn’t anywhere good that I knew of. Then one day I found the public-school yard.

What’re you doing here, you stupid shit? asked one kid, a pudgy boy with skin like a baby.

He and some other boys pushed around me in a circle.

The pudge said, Who are you?

When I didn’t answer, he said, You’re one of those orphan bastards, right?

The boys crowded in closer and I was afraid to speak. People could tell you were from the Home by your haircut. We were all shaved up like the Dalai Lama.

Finally, I smiled and mumbled, If you say so.

What? the pudge said. I didn’t hear you.

The circle of boys cinched like a knot. Their looming heads were way up in the sky.

Yeah, I said.

After that I sat below the monkey bars and chewed a butter sandwich and watched pudge-boy and his gang over by the water fountain with some girls and I knew I was going to have to kick his ass sooner or later. Everything else was new and strange but this seemed predictable and something I could rely on.

That spring the pudge had the nerve to try out for baseball. He wore brand-new cleats and threw like a fem and his mitt, also brand-new, very orange and stiff, wouldn’t close. He might as well have been standing in right field with a piece of toast. He dropped everything. The second day of practice, we had an intrasquad game and I nailed him three times. I just chose places on his fat body and threw the ball at them. Eventually, pudge-boy was afraid to stand in the batters box. The coach thought I had a control problem but I didn’t. My control was perfect.

I whiffed nine guys and made the team and the pudge was cut. He walked away, crying. I ran down the hill and jumped on his back. I hit him in the face and the neck and beat on his ear over and over. You hear that? I shouted. You hear that, you fat fucker? Now that I had him alone I was insane. The pudge rolled away on the grass, holding his ear. Blood was coming out. He was bawling, and I hawked a gob of spit right into his black, wailing mouth and said, You bastard.

That night, I was asleep with the encyclopedia pitched like a tent over my nose when Sister Celestine, the head nun, came in.

Why weren’t you at dinner?

I could hear the polished rocks of Sister Celestine's rosary rattling as she worried them between her fingers.

She pulled the encyclopedia off my head.

Won’t you talk? Sister said.

She tucked a dry, stray shaft of hair back beneath her habit. Maybe you’d feel more comfortable making a confession?

I picked at the fuzzballs on my blanket.

I just got off the phone with that boy's mother, she said.

She touched a cut on my lip and took a deep breath. She said you called him a name. Do you know what that name means?

I shook my head.

She took off her scapular and put it around my neck. Two small pieces of brown wool hung on a cord, one in back, the other in front.

I rubbed the wool between my finger and thumb.

It's not magic, she said.

No?

More like a sign, she said, that helps guide people-she paused-like us. When you pray to it you never say Amen, because the prayer is continuous. It doesn’t have an end. Before I received my calling, she said, I used to be a lot like you. I felt trapped. It was like I lived in a dark little corner of my own mind. She sighed. Ignatius, do you know what the opposite of love is?

Hate, I said.

Despair, Sister said. Despair is the opposite of love.

When the pudge came to the yard, he was obviously beat up and everybody wanted to know what happened. Before I could say anything, he came charging across the lot and said, Truce, truce. We shook hands and sat under the monkey bars, which had become my private territory.

I thought Catholics were pansies, he said.

Ignatius Loyola was a warrior, I said.

That's a weird name, the pudge said. My name's Donny

Ignatius, I told him.

I’m sorry I called you a bastard, Donny said. He peeled a strip of red rubber off his tennis shoe and stretched and snapped it in the air. Then he put it in his mouth and chewed on it.

You should meet my dad, he said.

My dad used to race pigeons, I said. He had about a hundred of them.

Donny looked impressed. How do you race pigeons? he asked.

You just drive out to the country and let them go-they always find their way back to the coop. You can use pigeons to send messages.

My dad ate a pigeon once, Donny said. In France.

Donny told me about the Eurekan Territory, which was something he’d made up on summer vacation. The Eurekan Territory came from Eureka, California, where he had relatives he didn’t like. All they did was drink greyhounds, he said, and talk about people you didn’t know. They were always slapping their knees and saying Gosh, isn’t that funny? when nothing was funny.

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