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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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Donny wasn’t a Catholic but I let him wear my scapular, which he kept on calling a spatula.

You should come over to our house, Donny said. It's big. My dad rakes it in.

I said, You want to go see my dad?

Donny looked at me. Where? he said.

What do you mean, where?

Isn’t he dead?

Follow me, I said.

St. Jude's Hospital was a huge old brick building. A hurricane fence caged in a patio that was scattered with benches and garbage cans. We walked around the fence, plucking the cold wires with our fingers.

My dad was sitting on a bench with a loaf of bread and an orange. He wore a paper nightgown with snaps in the back. His eyes were like blown fuses, and dry white yuck made a crust around his mouth. Wind ruffled his hair. It was too cold to be outside in a paper outfit.

Don’t you want a sweater? I said.

I climbed up the chain-link fence.

This is my friend Donny, I said. Donny, this is my dad, Tony Banner.

Dad was barefoot on one foot and wore a foam-rubber slipper on the other. He grabbed the fence and the links shivered. He looked out west, toward the Olympic Mountains, and we looked, too. It was getting dark.

Hey, Dad?

What?

He dropped a piece of bread through the fence, and a couple of cooing pigeons bobbed along the gutter and fought each other for it. They were ugly pigeons, dirty like a sidewalk. They were right under me and Donny s feet. I kicked one in the head. It fell over, and beat the dirt with its wings.

I’m learning quite a lot of prayers at school, I said.

That got him to laugh. The cuts on his hands were healing. That last week at our house he emptied all the soup cans in the garage and kept the rusty nails in his pockets. One morning for breakfast he served me a bowl of nails with milk and then squeezed a fistful of them in his hand until blood came out. He kept saying with his voice very loud and fast, I got the nails, I got the nails right here, boy-where's my cross, eh? Now he was gentle. He pushed bread through the fence until the loaf was gone and the pigeons flew away, except the one I’d kicked.

I gotta go home and eat, Donny said to me.

Donny s gotta go home and eat, I told my dad, translating for him. I’ve got to go eat, too.

I turned around once, real quick, and he was gripping the fence, looking off nowhere, then Donny and I crawled through a hole in the hedge.

Donny's dad asked us, Who wants to get the hell out of here? Who wants to go hiking in the Olympics? I’d spent most of my summer at Donny s house, so I knew his parents. Mrs. Cheetam was a beautiful woman with silver-and-gold hair. Mr. Cheetam was a traveling salesman and wasn’t home much, but it was true, he raked it in. They bought Donny everything. Donny told me he had a sister who died of leukemia. He played me a cassette of her last farewell. Near the end of the tape she said, Donny? I love you, remember that. I want you to know that wherever I am, and wherever you are, I’ll be watching. I’ll be with you always. I love you. Do you hear me? Donny?

When she said that-I love you. Do you hear me? Donny?-I got a lonely sort of chill.

We’re now leaving the Eurekan Territory! Donny said as we drove away, and I said, That's right. Good-bye, Eurekan Territory!

Mr. Cheetam listened to different tapes from a big collection he kept in a suitcase. They were old radio shows, and one I liked was called The Shadow: Who knows what evil lurks in the hearts of men? Mr. Cheetam and Donny knew all the words and talked right along with the tapes. The Shadow knows, they said, ha ha ha!

Later Donny woke up and asked, Where are we? Mr. Cheetam said, You see that river there, Donny? That's the Quinault River, and we’re going to hike up along what's called the High Divide, and when we get to the top we’ll be at the source of that river. You’ll be able to skip right over it, he said, so remember how big it is now. Donny asked, What if we see the Sasquatch? I said we’d be famous, if we captured it. Or took a picture, Donny said. But I don’t want to see it, he added. We parked at the ranger station and signed in. It was silent and we could hear our feet crunching the gravel. We cinched up our pack straps and looked at each other. This is it, Mr. Cheetam said. He looked up the trail. This is where we separate the men from the boys.

After about an hour, we cut off the main path and headed toward the river. This is where I buried my dad, Mr. Cheetam explained. I always visit once a year. Right beside the river was a tree, hanging over the water and shadowing everything. Initials were carved in the tree on the side facing the river. B.C. is Billy Cheetam, Donny said. That's my grandpa. Is he under the tree? I asked. No, no, Mr. Cheetam laughed. He was cremated and I scattered his ashes in the river. But this is the spot, he said. The river was deep and wide at that point. Mr. Cheetam asked if he and Donny could be alone to think and remember and I hiked back out to the main trail. I sat against a fallen log until Donny came back. He talks to him, Donny said. What's he say? I asked, but Donny didn’t know.

Our first camp was disappointing because we could hear Boy Scouts hooting and farting around, a troop of about sixty in green uniforms with red or yellow hankies around their necks. It was like the army, with pup tents everywhere. Mr. Cheetam said not to worry, higher up there wouldn’t be any Scouts.

We found wood and lit a campfire and made dinner-beef Stroganoff- and I sopped up all the gravy with my fingers. We washed the pots and pans with pebbles and sand in the river. Mr. Cheetam drank whiskey from a silver flask, wiping his lips and saying, Aaahhh, this is living!

The Boy Scouts sounded off with taps. Donny and I shared a smoke-wood stogie-a kind of gray stick you could smoke-and when it was quiet Mr. Cheetam cupped his hands around his mouth and moaned, Who stole my Golden Arm? Whooooo stoooole myyyy Goool-den Aaaarm? You could hear his voice echoing in the forest. Whoo stoooole my Gooolden Aaarm? You did! Mr. Cheetam shouted, grabbing Donny. We crawled into our tents and I started laughing and Donny got hysterical, too. Mr. Cheetam had a different tent and told us to shut up.

Donny whispered how he hated the Japs and never wanted to be captured by them-they knew how to make you talk. I told him about the Inquisition and all the tortures they’d invented for getting confessions.

They had this one thing called the press, I said. If you were accused of a crime and didn’t make a plea, the King ordered you to lie down. Then he piled rocks on you until you confessed the truth or got crushed.

How big were the rocks? Donny asked.

I don’t know.

What if you had thirty-what if you had a hundred-no, wait, what if you had a thousand rocks on you and then you decided to tell the truth?

You could, I said. But if you said you didn’t do anything, the King didn’t want to hear that, and he’d just go ahead with another rock, until you admitted you did do it.

Donny hesitated, and I thought I understood.

I know, I said. I know.

At the next camp, only two people were around, a man and a woman, who were sitting naked on a rock in the river when we first arrived, but kept to themselves afterward. Donny and Mr. Cheetam fished for a while but quit after Donny's hook got caught in the trees too many times. Mr. Cheetam said, Don’t worry about it, Donny. It's no good down here. Higher up the water's colder and we’ll catch tons of rainbows, maybe some Dolly Varden.

We ate a great meal of dehydrated chicken tetrazzini and pilot biscuits and chocolate for dessert. Donny and I shared more smokewood. Now and then we added sticks to the fire and the light breathed out and made a circle around us. I love getting away from it all, Mr. Cheetam said.

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