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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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The only places with enough water to hold fish were the pools, some no bigger than a washbucket. Lanny flicked the spinner into the pools and in every third or fourth one a small, orange-finned trout came flopping out onto the bank, the spinner's treble hook snagged in its mouth. Lanny would slap the speckle's head against a rock and feel the fish shudder in his hand and die. If he missed a strike, he cast again into the same pool. Unlike browns and rainbows, the speckles would hit twice, occasionally even three times. Old Man Jenkins had told Lanny when he was a boy most every stream in the county was thick with speckles, but they’d been too easy caught and soon enough fished out, which was why now you had to go to the back of beyond to find them.

He already had eight fish in his creel when he passed the No Trespassing sign nailed in an oak tree. The sign was scabbed with rust like the ten-year-old car tag on his granddaddy's barn, and he paid no more attention to the sign than he had when he’d first seen it a month ago. He knew he was on Toomey land, and he knew the stories. How Linwood Toomey had once used his thumb to gouge a man's eye out in a bar fight and another time opened a man's face from ear to mouth with a broken beer bottle. Stories about events Lanny's daddy had witnessed before, as his daddy put it, he’d got straight with the Lord. But Lanny had heard other things. About how Linwood Toomey and his son were too lazy and hard drinking to hold steady jobs. Too lazy and drunk to walk the quarter-mile from their farmhouse to the creek to look for trespassers too, Lanny told himself.

He waded on upstream, going farther than he’d ever been. He caught more speckles, and soon ten dollars’ worth bulged in his creel. Enough money for gas, maybe even a couple of bootleg beers, he told himself, and though it wasn’t near the money he’d been making at the Pay-Lo bagging groceries, at least he could do this alone and not have to deal with some old bitch of a store manager with nothing better to do than watch his every move, then fire him just because he was late a few times.

He came to where the creek forked and that was where he saw a sudden high greening a few yards above him on the left. He left the water and climbed the bank to make sure it was what he thought it was.

The plants were staked like tomatoes and set in rows the same way as tobacco or corn. He knew they were worth money, a lot of money, because Lanny knew how much his friend Travis paid for an ounce of pot and this wasn’t just ounces but maybe pounds.

He heard something behind him and turned, ready to drop the rod and reel and make a run for it. On the other side of the creek a gray squirrel scrambled up a blackjack oak. He told himself there was no reason to get all jumpy, that nobody would have seen him coming up the creek.

He let his eyes scan what lay beyond the plants. He didn’t see anything moving, not even a cow or chicken. Nothing but some open ground and then a stand of trees. He rubbed a pot leaf between his finger and thumb, and it felt like money to him, more money than he’d make even at the Pay-Lo. He looked around one more time before he took the knife from its sheath and cut down five plants.

That was the easy part. Dragging the stalks a mile down the creek was a lot harder, especially while trying to keep the leaves from being stripped off. When he got to the river he hid the plants in the underbrush and walked the trail to make sure no one was fishing. Then he carried the plants to the road edge, stashed them in the ditch, and got the truck. He emptied the creel into the ditch, the trout stiff and glaze-eyed. He wouldn’t be delivering Old Man Jenkins any speckles this evening.

Lanny drove back home with the stalks hidden under willow branches and potato sacks. He planned to stay only long enough to get a shower and put on some clean clothes, but as he walked through the front room his father looked up from the TV.

“We ain’t ate yet.”

“I’ll get something in town,” Lanny said.

“No, your momma's fixin supper right now, and she's set the table for three.”

“I ain’t got time. Travis is expecting me.”

“You can make time, boy. Or I might take a notion to go somewhere in that truck myself this evening.”

It was seven thirty before Lanny drove into the Hardee's parking lot and parked beside Travis's battered Camaro. He got out of the truck and walked over to Travis's window.

“You ain’t going to believe what I got in back of the truck.”

Travis grinned.

“It ain’t that old prune-faced bitch that fired you, is it?”

“No, this is worth something.”

Travis got out of the Camaro and walked around to the truck bed with Lanny. Lanny looked around to see if anyone was watching, then pulled back enough of a sack so Travis could see one of the stalks.

“I got five of em.”

“Holy shit. Where’d that come from?”

“Found it when I was fishing.”

Travis pulled the sack back farther.

“I need to start doing my fishing with you. It's clear I been going to the wrong places.”

A car pulled up to the drive-through and Travis pulled the sack over the plant.

“What you planning to do with it?”

“Sell it, if I can figure out who’ll buy it.”

“Leonard would buy it, I bet.”

“He don’t know me though. I ain’t one of his potheads.”

“Well, I am,” Travis said. “Let me lock my car and we’ll go pay him a visit.”

“How about we go over to Dink's first and get some beer.”

“Leonard's got beer. His is cheaper and it ain’t piss-warm like what we got at Dink's last time.”

They drove out of Marshall, following 221 toward Mars Hill.

“You in for a treat, meeting Leonard,” Travis said. “They ain’t another like him, leastways in this county.”

“I heard tell he was a lawyer once.”

“Naw, he just went to law school a few months. They kicked his ass out because he was stoned all the time.”

After a mile they turned off the blacktop and onto a dirt road. On both sides of the road what had once been pasture was now thick with blackjack oak and broomsedge. They passed a deserted farmhouse and turned onto another road no better than a logging trail, trees on both sides now.

The woods opened into a small meadow, at the center a battered green-and-white trailer, its windows painted black. On one side of the trailer a satellite dish sprouted like an enormous mushroom, on the other side a Jeep Cherokee, its back fender crumpled. Two Dobermans scrambled out from under the trailer, barking as they ran toward the truck. They leaped at Lanny's window, their claws raking the passenger door as he quickly rolled up the window.

The trailer door opened and a man with a gray ponytail and wearing only a pair of khaki shorts stepped onto the cinder-block steps. He yelled at the dogs and when that did no good he came out to the truck and kicked at them until they slunk back from where they had emerged.

Lanny looked at a man who wasn’t any taller than himself and looked to outweigh him only because of a stomach that sagged over the front of his shorts like a half-deflated balloon.

“That's Leonard?”

“Yeh. The one and only.”

Leonard walked over to Travis's window.

“I got nothing but beer and a few nickel bags. Supplies are going to be low until people start to harvest.”

“Well, we likely come at a good time then.” Travis turned to Lanny. “Let's show Leonard what you done brought him.”

Lanny got out and pulled back the branches and potato sacks.

“Where’d you get that from?” Leonard said.

“Found it,” Lanny said.

“Found it, did you? And you figured finders keepers.”

“Yeh,” said Lanny

Leonard let his fingers brush some of the leaves.

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