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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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She went into the bedroom to make sure that the voice had not been death telling her to check on Horace. She found him sitting up in bed, yawning and stretching. “You sleep good, honey bunch?” he said. “I sure did, sweetie pie,” she said and bounded across the room to hug him. A breakfast like the one she’d had would cost at least four dollars anywhere in D.C. or Maryland. “Oh, but Papa likes that,” Horace said. And even the cheapest motels out on New York Avenue, the ones catering to the junkies and prostitutes, charged at least twenty-five dollars a night. What's a hug compared with that? And, besides, she liked him more than she had thought, and the issue of Catrina and her moving in had to be done delicately. “Well, just let me give you a little bit mo, then.”

Young stuff is young stuff, Horace thought the first time Elaine brought Catrina by and Catrina gave him a peck on the cheek and said, “I feel like I know you from all that Elaine told me.” That was in early March.

In early April, Elaine met another man at a new club on F Street Northwest and fell in love, and so did Horace with Catrina, though Catrina, after several years on the street, knew what she was feeling might be in the neighborhood of love but it was nowhere near the right house. She and Elaine told Horace the saddest of stories about the man Elaine had met in the club, and before the end of April he was sleeping on Horace's living-room floor. It helped that the man, Darnell Mudd, knew the way to anyone's heart, man or woman, and that he claimed to have a father who had been a hero in the Korean War. He even knew the name of the Secretary of Defense in the photograph and how long he had served in the Cabinet.

By the middle of May, there were as many as five other people, friends of the three young people, hanging out at any one time in Horace's place. He was giddy with Catrina, with the blunts, with the other women who snuck out with him to a room at the motel across Thirteenth Street. By early June, more than a hundred of his old records had been stolen and pawned. “Leave his stuff alone,” Elaine said to Darnell and his friends as they were going out the door with ten records apiece. “Don’t take his stuff.

He loves that stuff.” It was eleven in the morning and everyone else in the apartment, including Horace, was asleep. “Sh-h-h,” Darnell said. “He got so many he won’t notice.” And that was true. Horace hadn’t played records in many months. He had two swords that were originally on the wall opposite the heating-and-air-conditioning unit. Both had belonged to German officers killed in the Second World War. Horace, high on the blunts, liked to see the young men sword fight with them. But the next day, sober, he would hide them in the bottom of the closet, only to pull them out again when the partying started, at about four in the afternoon.

His neighbors, especially the neighbors who considered that Loneese had been the long-suffering one in the marriage, complained to the management about the noise, but the city-government people read in his rental record that he had lost his wife not long ago and told the neighbors that he was probably doing some kind of grieving. The city-government people never went above the first floor in Sunset. “He's a veteran who just lost his wife,” they would say to those who came to the glass office on the first floor. “Why don’t you cut him some slack?” But Horace tried to get a grip on things after a maintenance man told him to be careful. That was about the time one of the swords was broken and he could not for the life of him remember how it had happened. He just found it one afternoon in two pieces in the refrigerator's vegetable bin.

Things toned down a little, but the young women continued to come by and Horace went on being happy with them and with Catrina, who called him Papa and pretended to be upset when she saw him kissing another girl. “Papa, what am I gonna do with you and all your hussies?” “Papa, promise you’ll only love me.” “Papa, I need a new outfit. Help me out, willya please?”

Elaine had become pregnant not long after meeting Darnell, who told her to have the baby, that he had always wanted a son to carry on his name. “We can call him Junior,” he said. “Or Little Darnell,” she said. As she began showing, Horace and Catrina became increasingly concerned about her. Horace remembered how solicitous he had been when Loneese had been pregnant. He had not taken the first lover yet, had not even thought about anyone else as she grew and grew. He told Elaine no drugs or alcohol until the baby was born, and he tried to get her to go to bed at a decent hour, but that was often difficult with a small crowd in the living room.

Horace's grandson called in December, wanting to come by to see him, but Horace told him it would be best to meet someplace downtown, because his place was a mess. He didn’t do much cleaning since Loneese died. “I don’t care about that,” Alonzo, Jr., said. “Well, I do,” Horace said. “You know how I can be bout these things.”

In late December, Elaine gave birth to a boy, several weeks early. They gave him the middle name Horace. “See,” Darnell said one day, holding the baby on the couch. “Thas your grandpa. You don’t mind me callin you his granddad, Mr. Perkins? You don’t mind, do you?” The city-government people in the rental office, led by someone new, someone who took the rules seriously, took note that the old man in Apartment 230 had a baby and his mama and daddy in the place and not a single one of them was even related to him, though if one had been it still would have been against the rules as laid down in the rule book of apartment living.

By late February, an undercover policeman had bought two packets of crack from someone in the apartment. It was a woman, he told his superiors at first, and that's what he wrote in his report, but in a subsequent report he wrote that he had bought the rocks from a man. “Start over,” said one of his superiors, who supped monthly with the new mayor, who lived for numbers, and in March the undercover man went back to buy more.

It was late on a warm Saturday night in April when Elaine woke to the crackle of walkie-talkies outside the door. She had not seen Darnell in more than a month, and something told her that she should get out of there because there might not be any more good times. She thought of Horace and Catrina asleep in the bedroom. Two men and two women she did not know very well were asleep in various places around the living room, but she had dated the brother of one of the women some three years ago. One of the men claimed to be Darnell's cousin, and, to prove it to her, when he knocked at the door that night he showed her a Polaroid of him and Darnell at a club, their arms around each other and their eyes red, because the camera had been cheap and the picture cost only two dollars.

She got up from the couch and looked into the crib. In the darkness she could make out that her son was awake, his little legs kicking and no sound from him but a happy gurgle. The sound of the walkie-talkie outside the door came and went. She could see it all on the television news- “Drug Dealing Mama in Jail. Baby Put in Foster Care.” She stepped over the man who said he was Darnell's cousin and pushed the door to the bed- room all the way open. Catrina was getting out of bed. Horace was snoring. He had never snored before in his life, but the drugs and alcohol together had done bad things to his airway.

“You hear anything?” Elaine whispered as Catrina tiptoed to her.

“I sure did,” Catrina said. Sleeping on the streets required keeping one eye and both ears open. “I don’t wanna go back to jail.”

“Shit. Me, neither,” Elaine said. “What about the window?”

“Go out and down two floors? With a baby? Damn!”

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