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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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He tipped back his flask and in the bright curved silver I could see the fire flaming up.

Once upon a time, Mr. Cheetam said, there was a boy and girl who were very much in love.

Where was this? Donny asked.

Oh, Mr. Cheetam said, it doesn’t matter, does it? Love's the same everywhere you go, so let's just make up a place.

How about the Eurekan Territory? I said.

O.K., Mr. Cheetam said. The Eurekan Territory, that's where they were in love. It was a small place, and everybody knew everybody else, so eventually people figured out this boy and girl had a thing going. You know what a thing is, right?

Donny said he did.

Good for you, Mr. Cheetam said. Well, this thing was frowned on by everyone. People took different sides, against the boy, or against the girl, everybody blaming everybody else. But the boy and girl were madly in love and you can’t stop love, not when it's the real thing.

He went to his pack and pulled out a big bottle and refilled his flask. When he came back he said, You know what that's like, to have a real thing?

Donny said, Yeah, I know.

I mean really real, Mr. Cheetam said.

How real? I said.

Mr. Cheetam ignored me. To hell with what anybody thinks, these kids, these lovers, said. So one night the boy meets the girl on the edge of town and they drive up a dark winding road to a lover's leap. They can see everything from up there, but they’re not looking. No sirree, Bob. The boy and the girl sit in the car, spooning, as we used to call it back in the day- making out, and listening to love songs on the radio, until one of the songs is interrupted by a special bulletin. A prisoner has escaped!

Does the prisoner have hooks instead of hands? I asked.

Yeah, Mr. Cheetam said, that's the guy.

How’d you know? Donny asked.

I knew because the story wasn’t true. The girl hears something outside, and the boy says, Oh, baby, baby, don’t worry, we’re way up here above everything, we’re safe. The boy tries to get at the girl, and the girl keeps hearing something outside. Eventually it's no fun, and they go home. When the boy opens the door for the girl to drop her out he finds a hook clawing and banging at the door handle, just clinging there, ripped right off the prisoner's arm.

Mr. Cheetam didn’t scare me, but Donny was scared.

We were quiet for a minute, and then I told them about when my dad was driving in his car. The other car came out of nowhere, I said. And my dad was hanging half out the door. His foot was stuck under the clutch and his head was banging on the road. He was dragged about two hundred feet. He was in the hospital for a month. My mom died.

No one said anything, so I added, That's a true life story.

You don’t think mine was? Mr. Cheetam asked. He looked at me strangely and winked.

Well, I said, yeah, I do. I know it is. I heard about those lovers before.

Mr. Cheetam stood up, stretched, and fell down. Donny and I looked at each other, then we got in our sleeping bags.

Your dad sure enjoys whiskey, I said.

In the middle of the night, Donny said, Hey, you hear that?

Come off it, I said.

I swear I heard something.

There's nothing out there, I said, but Donny went over to sleep in his dad's tent anyway.

We reached a sign that pointed different ways: the High Divide and the Low Divide. We took the high, up and up. There were fewer trees, and we climbed on loose rock called scree, and the air was thinner. Donny had an ugly blister on his heel and complained, and Mr. Cheetam got impatient with him. Just pull yourself up and get going, he said. Don’t fall behind.

Finally we crossed a field full of pink and yellow wildflowers, and at the far end, where the path ended, was a lake. The surface was perfectly clear and placid and we could see ourselves.

Here we are, Mr. Cheetam said.

Skinny-dipping, Donny said.

First things first, girls, Mr. Cheetam said, so we hopped to, setting up camp and scrounging enough wood for the night.

Donny and I stripped naked and jumped off the cliffs. No one else was around but when we swam and shouted and splashed our voices bounced back and forth off the rocks. Ricochet, we yelled. We dove and dove. Then we lay on a hot flat rock. I noticed that Donny had hair on his balls and he probably noticed so did I. You want to smoke a stogerooni? Donny asked. Nah, later, I said. We were stretched out and quiet: blue sky, yellow sun, white mountain-everything was perfect but Donny got antsy doing nothing for so long and took another dip. He came up fast and said, A fish! I saw a fish! And he got his fishing pole and caught a rainbow, like pulling a prayer from the water.

Good work, Donny, Mr. Cheetam said.

The fish wasn’t all the way dead yet and Mr. Cheetam had to slap its head against a rock. Blood came out the eyes. The knife blade sank into the skin with a ripping sound. What do we do with the guts? I asked. Toss ’em in the lake, Mr. Cheetam said. We don’t want any animals coming into camp. Bears? Donny said. It's not impossible, Mr. Cheetam said, but not likely, either. Maybe the Sasquatch, Donny said. Mr. Cheetam said to shut up about that damned Sasquatch. It's time you grow up, he said, shaking Donny's arm. Jesus, Donny said, rubbing himself.

Mr. Cheetam wrapped the fillets in foil and set them on the fire. It was soft out now, not dark but not light, either. Our shadows were weak around the fire, and Mt. Olympus was tinged pink and purple, and the wind died down.

Hey, I said, what about the Quinault?

Yeah, the Quinault! Donny said. You said I’d get to walk across it.

Oh crap, what was I thinking? Mr. Cheetam asked himself. You already did and I forgot, God damn it!

We ran back through the darkening wildflowers. We found a little stream about a foot wide and three inches deep that you would never think was a river but it was. There's your mighty Quinault, Donny, Mr. Cheetam said. Donny asked if we built a dam would the river dry up below and Mr. Cheetam laughed, saying, No, I’m afraid it doesn’t work that way. We bent down and drank and splashed our faces in the water. We listened to the little river, trickling in a whisper. It was almost like nothing.

The fish was all burned to hell when we got back to camp. Donny was upset and kept whining. I’m sorry, Mr. Cheetam said, but things happen. What can I say? Then he offered, Tomorrow? You want to stay another day? Donny looked at me, then said, Stay! Stay! O.K., Mr. Cheetam said, I think we’ve got everything we need-plenty of provisions-and we’ll catch some more fish.

After dinner, Mr. Cheetam drew out his flask again. His face was like my dad's had been in the last days, rough and black. One night toward the end I’d found him, my dad, in our broom closet. He had all his Bob Dylan records out and was writing new lyrics on them with a nail. Other things happened that I prefer to keep to myself. All week his loud voice was like the echo of thoughts he’d had a long time ago. Then one morning at the very end I heard him calling me in the rain. He was on top of our house in boxer shorts, yelling. Our neighbor tried to drive him off the roof by throwing a pot of geraniums at him. My dad started ripping apart the chimney and pitching bricks down on me and everybody else on the front lawn. We had to call the authorities. For a while he thought he was Jesus in a hospital called St. Judas, but it was really St. Jude's and my dad, of course, wasn’t Jesus. The same people who took him to the hospital brought me to the Home. I hadn’t eaten in three days.

Nearby we saw field mice hopping around, and Mr. Cheetam said that we’d better keep our packs inside the tents tonight. He hooked his arm around Donny s neck and said, How’d you like to go to California?

Not Eureka, Donny said.

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