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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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Horace tried sleeping in the bed, but he had been not unhappy in his twelve years on the hide-a-bed. He got rid of the bed and moved the couch into the bedroom and kept it open all the time.

He realized two things after Loneese's death: His own “vitals” had rejuvenated. He had never had the problems other men had, though he had failed a few times along the way, but that was to be expected. Now, as he moved closer to his seventy-third birthday, he felt himself becoming ever stronger, ever more potent. God is a strange one, he thought, sipping Chivas Regal one night before he went out: he takes a man's wife and gives him a new penis in her place.

The other thing he realized was that he was more and more attracted to younger women. When Loneese died, he had been keeping company with a woman of sixty-one, Sandy Carlin, in Apartment 907. One day in February, nine months after Loneese's death, one of Sandys daughters, Jill, came to visit, along with one of Jill's friends, Elaine Cunningham. They were both twenty-five years old. From the moment they walked through Sandy's door, Horace began to compliment them-on their hair, the color of their fingernail polish, the sharp crease in Jill's pants (“You iron that yourself?”), even “that sophisticated way” Elaine crossed her legs. The young women giggled, which made him happy, pleased with himself, and Sandy sat in her place on the couch. As the ice in the Pepsi-Cola in her left hand melted, she realized all over again that God had never promised her a man until her dying day.

When the girls left, about three in the afternoon, Horace offered to accompany them downstairs, “to keep all them bad men away.” In the lobby, as the security guard at her desk strained to hear, he made it known that he wouldn’t mind if they came by to see him sometime. The women looked at each other and giggled some more. They had been planning to go to a club in Southwest that evening, but they were amused by the old man, by the way he had his rap together and put them on some sort of big pedestal and shit, as Jill would tell another friend weeks later. And when he saw how receptive they were he said why not come on up tonight, shucks, ain’t no time like the present. Jill said he musta got that from a song, but he said no, he’d been sayin that since before they were born, and Elaine said thas the truth, and the women giggled again. He said I ain’t gonna lie bout bein a seasoned man, and then he joined in the giggling. Jill looked at Elaine and said want to? And Elaine said what about your mom? And Jill shrugged her shoulders and Elaine said O.K. She had just broken up with a man she had met at another club and needed something to make the pain go away until there was another man, maybe from a better club.

At about eleven thirty, Jill wandered off into the night, her head liquored up, and Elaine stayed and got weepy-about the man from the not-so-good club, about the two abortions, about running away from home at seventeen after a fight with her father. “I just left him nappin on the couch,” she said, stretched out on Horaces new living-room couch, her shoes off and one of Loneese's throws over her feet. Horace was in the chair across from her. “For all I know, he's still on that couch.” Even before she got to her father, even before the abortions, he knew that he would sleep with her that night. He did not even need to fill her glass a third time. “He was a fat man,” she said of her father. “And there ain’t a whole lot more I remember.”

“Listen,” he said as she talked about her father, “everything's gonna work out right for you.” He knew that, at such times in a seduction, the more positive a man was the better things went. It would not have done to tell her to forget her daddy, that she had done the right thing by running out on that fat so-and-so; it was best to focus on tomorrow and tell her that the world would be brighter in the morning. He came over to the couch, and before he sat down on the edge of the coffee table he hiked up his pants just a bit with his fingertips, and seeing him do that reminded her vaguely of something wonderful. The boys in the club sure didn’t do it that way. He took her hand and kissed her palm. “Everything's gonna work out to the good,” he said.

Elaine Cunningham woke in the morning with Horace sleeping quietly beside her. She did not rebuke herself and did not look over at him with horror at what she had done. She sighed and laid her head back on the pillow and thought how much she still loved the man from the club, but there was nothing more she could do: not even the five-hundred-dollar leather jacket she had purchased for the man had brought him around. Two years after running away, she had gone back to where she had lived with her parents, but they had moved and no one in the building knew where they had gone. But everyone remembered her. “You sure done growed up, Elaine,” one old woman said. “I wouldna knowed if you hadn’t told me who you was.” “Fuck em,” Elaine said to the friends who had given her a ride there. “Fuck em all to hell.” Then, in the car, heading out to Capitol Heights, where she was staying, “Well, maybe not fuck my mother. She was good.” “Just fuck your daddy then?” the girl in the backseat said. Elaine thought about it as they went down Rhode Island Avenue, and just before they turned onto New Jersey Avenue she said, “Yes, just fuck my daddy. The fat fuck.”

She got out of Horaces bed and tried to wet the desert in her mouth as she looked in his closet for a bathrobe. She rejected the blue and the paisley ones for a dark-green one that reminded her of something wonderful, just as Horace's hiking up his pants had. She smelled the sleeves once she had it on, but there was only the strong scent of detergent.

In the half room that passed for a kitchen, she stood and drank most of the orange juice in the gallon carton. “Now, that was stupid, girl,” she said. “You know you shoulda drunk water. Better for the thirst.” She returned the carton to the refrigerator and marveled at all the food. “Damn!” she said. With the refrigerator door still open, she stepped out into the living room and took note of all that Horace had, thinking, A girl could live large here if she did things right. She had been crashing at a friend's place in Northeast, and the friend's mother had begun to hint that it was time for her to move on. Even when she had a job, she rarely had a place of her own. “Hmm,” she said, looking through the refrigerator for what she wanted to eat. “Boody for home and food. Food, home. Boody You shoulda stayed in school, girl. They give courses on this. Food and Home the first semester. Boody Givin the second semester.”

But, as she ate her eggs and bacon and Hungry Man biscuits, she knew that she did not want to sleep with Horace too many more times, even if he did have his little castle. He was too tall, and she had never been attracted to tall men, old or otherwise. “Damn! Why couldn’t he be what I wanted and have a nice place, too?” Then, as she sopped up the last of the yolk with the last half of the last biscuit, she thought of her best friend, Catrina, the woman she was crashing with. Catrina Stockton was twenty-eight, and though she had once been a heroin addict, she was one year clean and had a face and a body that testified not to a woman who had lived a bad life on the streets but to a nice-looking Virginia woman who had married at seventeen, had had three children by a truck-driving husband, and had met a man in a Fredericksburg McDonald's who had said that women like her could be queens in D.C.

Yes, Elaine thought as she leaned over the couch and stared at the photograph of Horace and Loneese and the Secretary of Defense, Catrina was always saying how much she wanted love, how it didn’t matter what a man looked like, as long as he was good to her and loved her morning, noon, and night. The Secretary of Defense was in the middle of the couple. She did not know who he was, just that she had seen him somewhere, maybe on the television. Horace was holding the plaque just to the left, away from the Secretary. Elaine reached over and removed a spot of dust from the picture with her fingertip, and before she could flick it away a woman said her name and she looked around, chilled.

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