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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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Two men came out of the woods. They walked toward him with no more hurry or concern than men come to check their tobacco for cutworms. Lanny knew the big man in front was Linwood Toomey and the man trailing him his son. He could not remember the son's name but had seen him in town a few times. What he remembered was the son had been away from the county for nearly a decade and that some said he’d been in the marines and others said prison. The younger man wore a dirty white T-shirt and jeans, the older, blue coveralls with no shirt underneath. Grease coated their hands and arms.

They stood above him but did not speak. Linwood Toomey took a rag from his back pocket and rubbed his hands and wrists. Lanny wondered if they weren’t there at all, were nothing but some imagining the hurting caused.

“My leg's broke,” Lanny said, figuring if they spoke back they must be real.

“I reckon it is,” Linwood Toomey said. “I reckon it's near about cut clear off.”

The younger man spoke.

“What we going to do?”

Linwood Toomey did not answer the question, but eased himself onto the ground beside the boy. They were almost eye level now.

“Who's your people?”

“My daddy's James Burgess. My momma was Ruthie Candler before she got married.”

Linwood Toomey smiled.

“I know who your daddy is. Me and him used to drink some together, but that was back when he was sowing his wild oats. I’m still sowing mine, but I switched from oats. Found something that pays more.”

Linwood Toomey stuffed the rag in his back pocket.

“You found it too.”

“I reckon I need me a doctor,” Lanny said. He was feeling better now, knowing Linwood Toomey was there beside him. His leg didn’t hurt nearly as much now as it had before, and he told himself he could probably walk on it if he had to, once Linwood Toomey got the trap off.

“What we going to do?” the son said again.

The older man looked up.

“We’re going to do what needs to be done.”

Linwood Toomey looked back at Lanny. He spoke slowly and his voice was soft.

“Coming back up here a second time took some guts, son. Even if I’d figured out you was the one done it I’d have let it go, just for the feistiness of your doing such a thing. But coming back up here a third time was downright foolish, and greedy. You’re old enough to know better.”

“I’m sorry,” Lanny said.

Linwood Toomey reached out his hand and gently brushed some of the dirt off Lanny s face.

“I know you are, son.”

Lanny liked the way Linwood Toomey spoke. The words were soothing, like rain on a tin roof. He was forgetting something, something important he needed to tell Linwood Toomey. Then he remembered.

“I reckon we best get on to the doctor, Mr. Toomey.”

“There's no rush, son,” Linwood Toomey said. “The doctor won’t do nothing but finish cutting that lower leg off. We got to harvest these plants first. What if we was to take you down to the hospital and the law started wondering why we’d set a bear trap. They might figure there's something up here we wanted to keep folks from poking around and finding.”

Linwood Toomey's words had started to blur and swirl in Lanny s mind. They were hard to hold in place long enough to make sense. But what he did understand was Linwood Toomey's words weren’t said in a smart-ass way like Leonard Hamby's or Lanny s teachers or spoken like he was still a child the way his parents did. Lanny wanted to explain to Linwood Toomey how much he appreciated that, but to do so would mean having several sentences of words to pull apart from one another, and right now that was just too many. He tried to think of a small string of words he might untangle.

Linwood Toomey took a flat glass bottle from his back pocket and uncapped it.

“Here, son,” he said, holding the bottle to Lanny's lips.

Lanny gagged slightly but kept most of the whiskey down. He tried to remember what had brought him this far up the creek. Linwood Toomey pressed the bottle to his lips again.

“Take another big swallow,” he said. “It’ll cut the pain while you’re waiting.”

Lanny did as he was told and felt the whiskey spread down into his belly. It felt warm and soothing, like an extra quilt on a cold night. Lanny thought of something he could say in just a few words.

“You reckon you could get that trap off my foot?”

“Sure,” Linwood Toomey said. He slid over a few feet to reach the trap, then looked up at his son.

“Step on that lever, Hubert, and I’ll get his leg out.”

The pain rose up Lanny's leg again but it seemed less a part of him now. It seemed to him Linwood Toomey s words had soothed the bad hurting away.

“That's got it,” Linwood Toomey said.

“Now what?” the son said.

“Go call Edgar and tell him we’ll be bringing the plants sooner than we thought,” Linwood Toomey said. “Bring back them machetes and we’ll get this done.”

The younger man walked toward the house.

“The whiskey help that leg some?” Linwood Toomey asked.

“Yes, sir,” Lanny mumbled, his eyes now closed. Even though Linwood Toomey was beside him the man seemed to be drifting away along with the pain.

Linwood Toomey said something else but each word was like a balloon slipped free from his grasp. Then there was silence except for the gurgle of the creek, and he remembered it was the speckle trout that had brought him here. He thought of how you could not see the orange fins and red flank spots but only the dark backs in the rippling water, and how it was only when they lay gasping on the green bank moss that you realized how bright and pretty they were.

Timothy Crouse

Sphinxes

from Zoetrope

ICAN still hear the satisfaction in Robertos voice hed talked Miguel into - фото 3

ICAN still hear the satisfaction in Roberto's voice: he’d talked Miguel into shepherding Rosario on her trip to the seashore. And the roguish-ness: “Everybody knows about Miguel.”

Not long after he began taking lessons from me, Roberto one day looked up from the keyboard and asked: “Do you like Rosario?”

“Rosario? What Rosario?”

He said her full name.

“She's a student of mine.”

“I’m going to marry her.”

At the period I remember best, Roberto and Rosario had a little girl, Lilí, and lived in an apartment looking out on the mountains. French windows opened onto a dramatic wrought-iron balcony, which Roberto had designed himself. The apartment smelled of geraniums. I always associated this with Rosario's sense of order. Everything in its place, immaculate.

Though I generally required my students to come to me I made an exception as often as possible for Rosario, since being away from Lilí impaired her concentration. She was preoccupied with every aspect of her daughters well-being. This concern extended to Roberto, even to myself. She always had waiting for me a draft of her “magic immunizer”-an orchard squeezed into one tall glass-and entreated me to drink every drop. Something majestically selfless lent a becoming gravity to her solicitude.

Late one sultry afternoon I arrived to find Roberto-lank, tan, with the nose of a Caesar-lounging in an armchair. At the piano, Rosario was helping Lilí, in her lap, pick out a tune. They all looked fresh and trim- congenitally undisheveled. Rosario put the child down: “If you’re quiet-quiet, you can stay.” With a smile to Roberto: “You, too.” Lilí pondered for a moment, chin in fist, then parked herself in a miniature chair. She sat through the entire hour without a peep. Rosario leapt up afterward and cuddled her. “You were so good! Let's play our game.” She pinched her ears, nuzzled her neck, pulled faces at her. To each sally Lilí responded in kind, with squeals.

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