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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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When he came close to where the plants were, he crawled up the bank, slowly raising his head like a soldier in a trench. He scanned the tree line across the field and saw no one. He told himself even if someone hid in the trees, they could never get across the field to catch him before he was long gone down the creek.

Lanny cut the stalks just below the last leaves. Six plants filled the sacks. He thought about cutting more, taking what he had to the truck and coming back to get the rest, but he figured that was too risky. He made his way back down the creek. He didn’t see anyone on the river trail, but if he had he’d have said it was poke shoots in the sacks if they’d asked.

When he drove up to the trailer, Leonard was watering the tomatoes with a hose. Leonard cut off the water and herded the Dobermans away from the truck. Lanny got out of the truck and walked around to the truck bed.

“How come you grow your own tomatoes but not your own pot?”

“Because I’m a low-risk kind of guy. Since they’ve started using the planes and helicopters, it's gotten too chancy unless you have a place way back in some hollow.”

One of the Dobermans growled from beneath the trailer but did not show its face.

“Where's your partner?”

“I don’t need no partner,” Lanny said. He lifted the sacks from the truck bed and emptied them onto the ground between him and Leonard.

“That's one hundred and twenty dollars’ worth,” Lanny said.

Leonard stepped closer and studied the plants.

“Fair is fair,” Leonard said, and pulled a money clip from his pocket. He handed Lanny five twenty-dollar bills and four fives.

Lanny crumpled the bills in his fist and stuffed them into his pocket, but he did not get back in the truck.

“What?” Leonard finally said.

“I figured you to ask me in for a beer.”

“I don’t think so. I don’t much want to play host this afternoon.”

“You don’t think I’m good enough to set foot in that roachy old trailer of yours.”

Leonard looked at Lanny and smiled.

“Boy, you remind me of a banty rooster, strutting around not afraid of anything, puffing your feathers out anytime anyone looks at you wrong. You think you’re a genuine, hardcore badass, don’t you?”

“I ain’t afraid of you, if that's what you’re getting at. If your own woman ain’t scared of you, why should I be.”

Leonard looked at the money clip in his hand. He tilted it in his hand until the sun caught the metal and a bright flash hit Lanny in the face. Lanny jerked his head away from the glare.

Leonard laughed and put the money clip back in his pocket.

“After the world has its way with you a few years, it’ll knock some of the strut out of you. If you live that long.”

“I ain’t wanting your advice,” Lanny said. “I just want some beer.”

Leonard went into the trailer and brought out a six-pack of cans.

“Here,” he said. “A farewell present. Don’t bother to come around here anymore.”

“What if I get you some more plants?”

“I don’t think you better try to do that. Whoever's pot that is will be harvesting in the next few days. You best not be anywhere near when they’re doing it either.”

“What if I do get more?”

“Same price, but if you want any beer you best be willing to pay bootleg price like your buddies.”

The next day soon as Sunday lunch was finished, he put on jeans and a T-shirt and tennis shoes and headed toward the French Broad. The day was hot and humid, and the only people on the river were a man and two boys swimming near the far bank. By the time he reached the creek his T-shirt was sweat-soaked and sweat stung his eyes.

Upstream the trees blocked out most of the sun and the cold water he splashed on his face and waded through cooled him. At the waterfall, an otter slid into the pool. Lanny watched its body surge through the water, straight and sleek as a torpedo, before disappearing under the far bank. He wondered how much an otter pelt was worth and figured come winter it might be worth finding out. He knelt and cupped his hand, the pool's water so cold it hurt his teeth.

He climbed the left side of the falls, then made his way upstream until he got to the No Trespassing sign. If someone waited for him, Lanny believed that by now the person would have figured out he’d come up the creek, so he stepped up on the right bank and climbed the ridge into the woods. He followed the sound of water until he figured he’d gone far enough and came down the slope slow and quiet, stopping every few yards to listen. When he got to the creek, he looked upstream and down before crossing.

The plants were still there. He pulled the sacks from his belt and walked toward the first plant, his eyes on the trees across the field.

The ground gave slightly beneath his right foot. He did not hear the spring click. What he heard was the sound of bone shattering. Pain raced like a flame up his leg to consume his whole body.

When he came to, he was on the ground, his face inches from a pot plant. This ain’t nothing but a bad dream, he told himself, thinking that if he believed it hard enough it might become true. He used his forearm to lift his head enough to look at the leg and the leg twisted slightly and the pain hit him like a fist. The world turned deep blue and he thought he was going to pass out again, but in a few moments the pain eased a little.

He looked at his foot and immediately wished he hadn’t. The trap's jaws clenched around his leg just above the ankle. Blood soaked the tennis shoe red, and the leg angled back on itself in a way that made bile surge up from his stomach. Don’t look at it anymore until you have to, he told himself and laid his head back on the ground.

His face looked toward the sun now, and he guessed it was still early afternoon. Maybe it ain’t that bad, he told himself. Maybe if I just lay here a while it’ll ease up some, and I can get the trap off. He lay still as possible, breathing long shallow breaths, trying to think about something else. He remembered what Old Man Jenkins had said about how one man could pretty much fish out a stream of speckle trout by himself if he took a notion to. Lanny wondered how many speckle trout he’d be able to catch out of Caney Creek before they were all gone. He wondered if after he did he’d be able to find another way-back trickle of water that held them.

He must have passed out again, because when he opened his eyes the sun hovered just above the tree line. When he tested the leg, pain flamed up every bit as fierce as before. He wondered how late it would be tonight before his parents would get worried and how long it would take after that before someone found his truck and got people searching. Tomorrow at the earliest, he told himself, and even then they’d search the river before looking anywhere else.

He lifted his head a few inches and shouted toward the woods. No one called back, and he imagined Linwood Toomey and his son passed-out drunk in their farmhouse. Being so close to the ground muffled his voice, so he used a forearm to raise himself a little higher and called again.

I’m going to have to sit up, he told himself, and just the thought of doing so made the bile rise again in his throat. He took deep breaths and used both arms to lift himself into a sitting position. The pain smashed against his body again but just as quickly eased. The world began draining itself of color until everything around him seemed shaded with gray. He leaned back on the ground, sweat popping out on his face and arms like blisters.

Everything seemed farther away, the sky and trees and plants, as though he were being lowered into a well. He shivered and wondered why he hadn’t brought a sweatshirt with him.

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