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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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“We can do it,” Elaine said, looking over Catrina's shoulder to the dark lump that was Horace mumbling in his sleep. “What about him?”

Catrina turned her head. “He old. They ain’t gonna do anything to him. I’m just worried bout makin it with that baby.”

“Well, I sure as hell ain’t gonna go without my child.”

“I ain’t said we was,” Catrina hissed. “Down two floors just ain’t gonna be easy, is all.”

“We can do it,” Elaine said.

“We can do it,” Catrina said. She tiptoed to the chair at the foot of the bed and went through Horace's pants pockets. “Maybe fifty dollars here,” she whispered after returning. “I already got about three hundred.”

“You been stealin from him?” Elaine said. The lump in the bed turned over and moaned, then settled back to snoring.

“God helps them that helps themselves, Elaine. Les go.” Catrina had her clothes in her hands and went on by Elaine, who watched as the lump in the bed turned again, snoring all the while. Bye, Horace. Bye. I be seein you.

The policeman in the unmarked car parked across Thirteenth Street watched as Elaine stood on the edge of the balcony and jumped. She passed for a second in front of the feeble light over the entrance and landed on the sloping entrance of the underground parking garage. The policeman was five years from retirement and he did not move, because he could see quite well from where he sat. His partner, only three years on the job, was asleep in the passenger seat. The veteran thought the woman jumping might have hurt herself, because he did not see her rise from the ground for several minutes. I wouldn’t do it, the man thought, not for all a rich man's money. The woman did rise, but before she did he saw another woman lean over the balcony dangling a bundle. Drugs? he thought. Nah.

Clothes? Yeah, clothes more like it. The bundle was on a long rope or string-it was too far for the man to make out. The woman on the balcony leaned over very far and the woman on the ground reached up as far as she could, but still the bundle was a good two feet from her hands.

Just let them clothes drop, the policeman thought. Then Catrina released the bundle and Elaine caught it. Good catch. I wonder what she looks like in the light. Catrina jumped, and the policeman watched her pass momentarily in front of the light, and then he looked over at his partner. He himself didn’t mind filling out the forms so much, but his partner did, so he let him sleep on. I’ll be on a lake fishin my behind off and you’ll still be doin this. When he looked back, the first woman was coming up the slope of the entrance with the bundle in her arms and the second one was limping after her. I wonder what that one looks like in a good light. Once on the sidewalk, both women looked left, then right, and headed down Thirteenth Street. The policeman yawned and watched through his sideview mirror as the women crossed M Street. He yawned again. Even at three o’clock in the morning people still jaywalked.

The man who was a cousin of Darnell's was on his way back from the bathroom when the police broke through the door. He frightened easily, and though he had just emptied his bladder, he peed again as the door came open and the light of the hallway and the loud men came spilling in on him and his sleeping companions.

Horace began asking about Catrina and Elaine and the baby as soon as they put him in a cell. It took him that long to clear his head and understand what was happening to him. He pressed his face against the bars, trying to get his bearings and ignoring everything behind him in the cell. He stuck his mouth as far out of the bars as he could and shouted for someone to tell him whether they knew if the young women and the baby were all right. “They just women, y’all,” he kept saying for some five minutes. “They wouldn’t hurt a flea. Officers, please. Please, Officers. What's done happened to them? And that baby. That baby is so innocent.” It was a little after six in the morning, and men up and down the line started hollering for him to shut up or they would stick the biggest dick he ever saw in his mouth. Stunned, he did quiet down, because, while he was used to street language coming from the young men who came and went in his apartment, no bad words had ever been directed at him. They talked trash with the filthiest language he had ever heard but they always invited him to join in and “talk about how it really is,” talk about his knowing the Secretary of Defense and the Mayor. Usually, after the second blunt, he was floating along with them. Now someone had threatened to do to him what he and the young men said they would do to any woman that crossed them.

Then he turned from the bars and considered the three men he was sharing the two-man cell with. The city-jail people liked to make as little work for themselves as possible, and filling cells beyond their capacity meant having to deal with fewer locks. One man was cocooned in blankets on the floor beside the tiered metal beds. The man sleeping on the top bunk had a leg over the side, and because he was a tall man the leg came down to within six inches of the face of the man lying on the bottom bunk. That man was awake and on his back and picking his nose and staring at Horace. His other hand was under his blanket, in the crotch of his pants. What the man got out of his nose he would flick up at the bottom of the bunk above him. Watching him, Horace remembered that a very long time ago, even before the Chesapeake Street house, Loneese would iron his handkerchiefs and fold them into four perfect squares.

“Daddy,” the man said, “you got my smokes?”

“What?” Horace said. He recalled doing it to Catrina about two or three in the morning and then rolling over and going to sleep. He also remembered slapping flies away in his dreams, flies that were as big as the hands of policemen.

The man seemed to have an infinite supply of boogers, and the more he picked the more Horaces stomach churned. He used to think it was such a shame to unfold the handkerchiefs, so wondrous were the squares. The man sighed at Horace's question and put something from his nose on the big toe of the sleeping man above him. “I said do you got my smokes?”

“I don’t have my cigarettes with me,” Horace said. He tried the best white man's English he knew, having been told by a friend who was serving with him in the army in Germany that it impressed not only white people but black people who weren’t going anywhere in life. “I left my cigarettes at home.” His legs were aching and he wanted to sit on the floor, but the only available space was in the general area of where he was standing and something adhered to his shoes every time he lifted his feet. “I wish I did have my cigarettes to give you.”

“I didn’t ask you bout your cigarettes. I don’t wanna smoke them. I ask you bout my cigarettes. I wanna know if you brought my cigarettes.”

Someone four cells down screamed and called out in his sleep: “Irene, why did you do this to me? Irene, ain’t love worth a damn anymore?” Someone else told him to shut up or he would get a king-sized dick in his mouth.

“I told you I do not have any cigarettes,” Horace said.

“You know, you ain’t worth shit,” the man said. “You take the cake and mess it all up. You really do. Now, you know you was comin to jail, so why didn’t you bring my goddam smokes? What kinda fuckin consideration is that?”

Horace decided to say nothing. He raised first one leg and then the other and shook them, hoping that would relieve the aches. Slowly, he turned around to face the bars. No one had told him what was going to happen to him. He knew a lawyer, but he did not know if he was still practicing. He had friends, but he did not want any of them to see him in jail. He hoped the man would go to sleep.

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