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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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Months later, when the indemnity claims began to be discussed in the press, New Yorkers would learn that the opposing sides, the insurance companies and the property owners, differed on a crucial issue: whether the collapse of the towers constituted one event, or two. The World Trade Center, it turned out, was insured for three billion dollars, but if it was deemed that the crash of the second plane into the south tower, not quite twenty minutes after the north tower was hit, constituted a distinct historical event, the insurers would have to pay the full amount twice, in effect saying that the buildings had been destroyed not once but two times. A lot of the argument, as it turned out, was rhetorical: to the insurers, the World Trade Center was a single site-maps marked it with a single X, guidebooks gave it only one entry-that had been destroyed by a united terrorist attack. But to the property owners, the Twin Towers were, architecturally, structurally, visibly, two buildings destroyed by two separate planes, either one of which could have missed its target. Which argument began to make more and more sense to me as time went on and details about what had happened came out. Nearly three-quarters of the people who died were in the north tower, and, of those, more than ninety percent were on floors above those hit by the plane, including dozens of people attending a breakfast conference at Windows on the World. The reason why far fewer people died in the second tower, which stood for less than an hour, as opposed to the hundred minutes the north tower remained intact, is that people in the south tower saw what had happened to the north tower and evacuated their offices. Regardless of whether you considered the two plane crashes coincidence or concerted assault, the planes had struck separately-and people in the second incident had learned from the first.

The antonym to history is prophecy. Historical patterns only emerge when we look back in time; they exist in the future as nothing more than guesses. That we make such projections speaks of a kind of faith, though whether that faith is in the past or the future, the predictability of human nature, or physics, or God, is anybody's guess. But in the end, it always takes you by surprise. By which I mean that when I fought my way through the clouds of dust and crowds of dusty people to Charlie's apartment, I found Fletcher had beaten me there. Who could have foreseen that?

In the days to come, I rode my bike around the city, watched as walls and windows and trees and lampposts filled up with pictures of the missing. Dust clogged my lungs and coated the chain of Adam's creaking bicycle, making it harder and harder to turn the pedals, but it was three days before I stopped wandering aimlessly and actually started looking for him. I found him, finally, a day and a half later, at the armory on Lexington and Twenty-sixth. Indian restaurants lined that stretch of Lex, and the air was usually tinged with curry, but all the restaurants had been closed for days. There were thousands of pictures taped to the wall of the armory, hundreds of people queuing to look at them. Many of the pictures were printed by inkjets and had smeared into unrecognizable blurs after two days of thunderstorms. Where there was a television crew, dozens of people holding up Polaroids and snapshots and flyers jockeyed to get on camera.

By common will the line moved from left to right. Heads nodded up and down as feet shuffled side to side. I tried not to look in anyone's eyes, living or photographed. I did look at the living, just in case, but mostly I looked at the pictures on the wall.

Sometimes A leads to Z. But sometimes Z leads to A. What I mean is, I was looking for Adam, but I found Zach. Zach: “You won’t believe his prices.” Zach: “They’re probably all stolen, but what you don’t know won’t hurt you.” “Bicycles” Zach had said. “Come on.”

I looked at his face for a long time. He hadn’t been a close friend, but someone I’d known off and on for almost fifteen years, and as I looked at him I was suddenly reminded of everyone I’d known who had died of AIDS in the eighties and nineties, the tragic consequences of being in the wrong place at the wrong time. The memory was as unexpected as Adam's blow to my head but produced in me an odd, almost eerie sense of calm. Z had led to A, and A to Z, and Z back to A, but now it was a different A. History wasn’t even a circle but a diminishing spiral, twisting into a tinier and tinier point.

And then:

“Keith? Keith, is that you?”

I didn’t recognize him at first. He was shorter than I remembered, his features less fine. His eyes weren’t gray but blue. But the hair was the same, thick and black and sticking out of his head in a dozen directions. It was streaked with soot now too, as if he hadn’t washed in days. His T-shirt was also filthy, and pinned to his chest were three pictures which I hardly had time to take in-there were two women and one man, all smiling the hopelessly naive smiles of the doomed-before Adam grabbed me up in a huge embrace. His arms collapsed around me, one and then the other, and his tears salved the faded remnants of my wounded face.

“Oh my God, Keith!” Adam cried. “You’re alive!”

Ron Rash

Speckle Trout

from The Kenyon Review

LANNY CAME upon the pot plants while fishing Caney Creek. It was a Saturday, and after helping his father sucker tobacco all morning, he’d had the truck and the rest of the afternoon and evening for himself. He'd changed into his fishing clothes and driven the three miles of dirt road to the French Broad. He drove fast, the rod and reel clattering side to side in the truck bed and clouds of red dust rising in his wake like dirt devils. He had the windows down and if the radio worked he would have had it blasting. The driver's license in his billfold was six months old but only in the last month had his daddy let him drive the truck by himself.

He parked by the bridge and walked upriver toward where Caney Creek entered. Afternoon sunlight slanted over Brushy Mountain and tinged the water the color of cured tobacco. A big fish leaped in the shallows but Lanny's spinning rod was broken down and even if it hadn’t been he would not have bothered to make a cast. There was nothing in the river he could sell, only stocked rainbows and browns, knottyheads, and catfish. The men who fished the river were mostly old men, men who would stay in one place for hours, motionless as the stumps and rocks they sat on. Lanny liked to keep moving, and he fished where even the younger fishermen wouldn’t go.

In forty minutes he was half a mile up Caney Creek, the spinning rod still broken down. There were trout in the lower section where browns and rainbows had worked their way up from the river, and Old Man Jenkins would not buy them. The gorge narrowed to a thirty-foot wall of water and rock, below it the deepest pool on the creek. This was the place where everyone else turned back. He waded through waist-high water to reach the left side of the waterfall, then began climbing, using juts and fissures in the rock for leverage and resting places. When he got to the top he put the rod together and tied a gold Panther Martin on the line.

The only fish this far up were what fishing magazines called brook trout, though Lanny had never heard Old Man Jenkins or anyone else call them anything other than speckle trout. Jenkins swore they tasted better than any brown or rainbow and paid Lanny fifty cents apiece no matter how small they were. Old Man Jenkins ate them head and all, like sardines.

Mountain laurel slapped against Lanny's face and arms, and he scraped his hands and elbows climbing straight up rocks there was no other way around. The only path was water now. He thought of his daddy back at the farmhouse and smiled to himself. The old man had told him never to fish a place like this alone, because a broken leg or a rattlesnake bite could get you stone-dead before anyone found you. That was near about the only kind of talk he got anymore from the old man, Lanny thought to himself as he tested his knot, always being lectured about something-how fast he drove, who he hung out with-like he was eight years old instead of sixteen, like the old man himself hadn’t raised all sorts of hell when he was young.

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