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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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“Looks like you dragged it through every briar patch and laurel slick between here and the county line.”

“There's plenty of leaves left on it,” Travis said.

“What you give me for it?” Lanny said.

Leonard lifted each stalk, looking at it the same way Lanny had seen buyers look at tobacco.

“Fifty dollars.”

“You trying to cheat me,” Lanny said. “I’ll find somebody else to buy it.”

As soon as he spoke Lanny wished he hadn’t, because he’d heard from more than one person that Leonard Hamby was a man you didn’t want to get on the wrong side of. He was about to say that he reckoned fifty dollars would be fine but Leonard spoke first.

“You may have an exalted view of your entrepreneurial abilities,” Leonard said.

Lanny didn’t understand all the words but he understood the tone. It was smart-ass but it wasn’t angry.

“I’ll give you sixty dollars, and I’ll double that if you bring me some that doesn’t look like it's been run through a hay baler. Plus I got some cold beers inside. My treat.”

“OK,” Lanny said, surprised at Leonard but more surprised at himself, how tough he’d sounded. He tried not to smile as he thought how when he got back to Marshall he’d be able to tell his friends he’d called Leonard Hamby a cheater to his face and Leonard hadn’t done a damn thing about it but offer more money and free beer.

Leonard took a money clip from his front pocket and peeled off three twenties and handed them to Lanny. Leonard nodded toward the meadow's far corner.

“Put them over there next to my tomatoes. Then come inside if you got a notion to.”

Lanny and Travis carried the plants through the knee-high grass and laid them next to the tomatoes. As they approached the trailer Lanny watched where the Dobermans had vanished under the trailer. He didn’t lift his eyes until he reached the steps.

Inside, it took Lanny's vision a few moments to adjust, because the only light came from a TV screen. Strings of unlit Christmas lights ran across the walls and over door eaves like bad wiring. A dusty-looking couch slouched against the back wall. In the corner Leonard sat in a fake-leather recliner patched with black electrician's tape. Except for a stereo system, the rest of the room was shelves filled with books and CDs. Music was playing, music that didn’t have any guitars or words.

“Have a seat,” Leonard said, and nodded at the couch.

A woman stood in the foyer between the living room and kitchen. She was a tall, bony woman and the cutoff jeans and halter top she wore had little flesh to hold them up. She’d gotten a bad sunburn and there were pink patches on her skin where she’d peeled. To Lanny she mostly looked wormy and mangy, like some stray dog around a garbage dump. Except for her eyes. They were a deep blue, like a jaybird's feathers. If you could just keep looking into her eyes, she’d be a pretty woman, Lanny told himself.

“How about getting these boys a couple of beers, Wendy,” Leonard said.

“Get them your ownself” the woman said, and disappeared into the back of the trailer.

Leonard shook his head but said nothing as he got up. He brought back two longneck Budweisers and a sandwich bag filled with pot and some wrapping papers.

He handed the beers to Travis and Lanny and sat down. Lanny was thirsty and he drank quickly as he watched Leonard carefully shake some pot out of the bag and onto the paper. Leonard licked the cigarette paper and twisted it at both ends, then lit it.

The orange tip brightened as Leonard drew the smoke in. He handed the joint to Travis, who drew on it as well and handed it back.

“What about your buddy?”

“He don’t smoke pot. Scared his daddy would find out and beat the tar out of him.”

“That ain’t so,” Lanny said. “I just like a beer buzz better.”

Lanny lifted the bottle to his lips and drank until the bottle was empty.

“I’d like me another one.”

“Quite the drinker, aren’t you,” Leonard said. “Just make sure you don’t overdo it. I don’t want you passed out and pissing on my couch.”

“I ain’t gonna piss on your couch.”

Leonard took another drag of the joint and passed it back to Travis.

“They’re in the refrigerator,” Leonard said. “You can get one easy as I can.”

Lanny stood up and for a moment he felt off plumb, maybe because he’d drunk the beer so fast. When the world steadied he got the beer and sat back down on the couch. He looked at the TV, some kind of western but without the sound on he couldn’t tell what was happening. He drank the second beer quick as the first as Travis and Leonard finished smoking the pot.

Travis had his eyes closed.

“Man, I’m feeling good,” Travis said.

Lanny studied the man who sat in the recliner, trying to figure out what it was that made Leonard Hamby a man you didn’t want to mess with. Leonard looked soft, Lanny thought, white and soft like bread dough. Just because a man had a couple of mean dogs didn’t make him such a badass, he told himself. He thought about his own daddy and Lin-wood Toomey big men you could look at and tell right away were badasses, or, like his daddy, once had been. Lanny wondered if anyone would ever call him a badass and wished again that he didn’t take after his mother, who was short and thin-boned.

“What's this shit you’re listening to, Leonard,” Lanny said.

“It's called ‘Appalachian Spring.’ It's by Copland.”

“Ain’t never heard of them.”

Leonard looked amused.

“Are you sure? They used to be the warm-up act for Lynyrd Skynyrd.”

“I don’t believe that.”

“No matter. Copland is an acquired taste, and I don’t anticipate your listening to a classical music station anytime in the future.”

Lanny knew Leonard was putting him down, talking over him like he was stupid, and it made him think of his teachers at the high school, teachers that used smart-ass words against him when he gave them trouble because they were too old and scared to try anything else. He got up and made his way to the refrigerator, damned if he was going to ask permission. He got the beer out and opened the top but didn’t go back to the couch. He went down the hallway to find the bathroom.

The bedroom door was open, and he could see the woman sitting up in the bed reading a magazine. He pissed and then walked into the bedroom and sat down on the bed.

The woman laid down the magazine.

“What do you want?”

Lanny grinned.

“What you offering?”

Even buzzed up with beer he knew it was a stupid thing to say. It seemed to him that ever since he’d got to Leonard's his mouth had been a faucet he couldn’t shut off.

The woman's blue eyes stared at him like he was nothing more than a sack of shit somebody had dumped on her bed.

“I ain’t offering you anything,” she said. “Even if I was, a little pecker-head like you wouldn’t know what to do with it.”

The woman looked toward the door.

“Leonard,” she shouted.

Leonard appeared at the doorway.

“It's past time to get your Cub Scout meeting over.”

Leonard nodded at Lanny.

“I believe you boys have overstayed your welcome.”

“I was getting ready to leave anyhow,” Lanny said. As he got up, the beer slipped from his hand and spilled on the bed.

“Nothing but a little peckerhead,” the woman said.

In a few moments he and Travis were outside. The evening sun glowed in the treetop like a snagged orange balloon. The first lightning bugs rode over the grass as though carried on an invisible current.

“You get more plants, come again,” Leonard said and closed the trailer door.

Lanny went back the next Saturday, two burlap sacks stuffed into his belt. After he’d been fired from the Pay-Lo, he’d about given up hope on earning enough money for his own truck, but now things had changed. Now he had what was pretty damn near a money tree and all he had to do was get its leaves to Leonard Hamby. He climbed up the waterfall, the trip up easier without a creel and rod. Once he passed the No Trespassing sign, he moved slower, quieter. I bet Linwood Toomey didn’t even plant it, Lanny told himself. I bet it was somebody who figured the Toomeys were too sorry to notice pot was growing on their land.

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