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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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“You permit this?” he hissed at Roberto.

“I encourage it! It redounds to my glory.”

Roberto began to mention affairs he was having. He sought out different companions, he claimed, so as to slake his urges without overtaxing his wife. Under the guise of divulgence, he would fish for advice. Describing some demand his mistress was making of him, he might slip in, expectantly: “Have you ever had to cope with that sort of thing?”

I’d laugh: “You need more Schumann!”

Rosario was wise to what was going on and saw no reason to protest. For her, the essence of the marriage was maternity. “I’m a scatterbrain,” she would say, “but this I take seriously”-indicating the zone of her womb.

Roberto and Rosario were accustomed to spending a week or two at the beach every summer. This year, one of Roberto's partners had fallen ill, saddling him with an extra load at the office. Also, Roberto had just embarked on a liaison with a young ballerina. If he could persuade Rosario to go on vacation without him, he would provide himself an open field while affording her a rest. Sending her off unprotected would, for him, have been out of the question. He had thought of the ideal escort: Miguel, who combined the most expedient features of a bodyguard and a dame de compagnie. At first, Miguel balked. It required a lot of wheedling on Roberto's part to bring him around. He didn’t have an easy job with Rosario, either.

I listened to her deliberate: “Naturally, Lilí would come with me. But can I trust Roberto to eat properly? And Miguel has been overworked. Wouldn’t he be happier unwinding with his handsome friends than chaperoning me?”

They went. While they were away, I attended a recital by Claudio Arrau. During the intermission I noticed Roberto, at the rail of one of the boxes, deep in conversation with a wiry, chignoned gamine. After the last encore, filing out of the auditorium, we ran into each other. He hesitated for a moment, then introduced his chum, the dancer.

“What a terrific evening!” he said a bit too loudly.

I concurred.

“That Carnavalw as a real treat,” he rattled on. “Such a charming piece, isn’t it?”

At his next lesson he asked: “Why did you look at me that way when I said I liked his Carnaval ?”

“You called it charming.”

“Well, sure. Papillons and all that. You can’t deny it's pretty stuff.” “A cadaver comes up to you and wants to dance-you consider that charming?”

“What are you talking about?” “Listen to Carnaval .”

When Miguel returned from the vacation, his playing grew soberer, solider, focused. Some chronic misgiving seemed to have been resolved, some inner reorganization effected: the same chord, voiced more cogently. Yet he was also feverish, brooding; one day a confession, long pent up, gushed out of him:

“We took the train down to the coast. The motion of the carriage kept jogging our arms against each other-hers cool, mine hot. I was in a sweat. The craving in me! What I’d felt for the others was-froth. All that time longing for Rosario, courting her from behind my mask-and now to have this chance. It gave me qualms. And there was Lilí, curled up across our thighs, sucking her thumb.

“The train arrived late. The hotel clerk informed us that we’d forfeited our reservations: the only thing he had available was a room with a double bed and a cot for the little girl. Rosario winked at me: ‘I don’t think it would kill either of us to sleep together.’ Was it that I couldn’t bring myself to abuse her naïveté? Or pure cowardice? I slipped the clerk a thin wad. Adjacent rooms materialized. Rosario and Lilí, at least, got a good night's sleep.

“The next morning, early, I heard them stirring. I washed up and joined them for breakfast on Rosario's terrace. As soon as we’d finished, we grabbed our bathing gear and made for the beach. I hired a cabaña. While Rosario and Lilí changed, I scanned the panorama. The sand, the air, the sea-all sparkling. I felt sparkling myself. The cabaña's door opened, and Lilí flittered out. Then Rosario stepped onto the deck. She tossed her mane, loosening it to the breeze. I couldn’t swallow. I could hardly breathe. It hadn’t occurred to me to prepare for this sight-not that I could have. The swimsuit was a sleek one-piece, modest compared to the bikinis that many other women were sporting-but what it concealed, it revealed more than nudity itself, including the precise, sand-dollar forms of the nipples. It was her utter lack of self-consciousness, as much as anything, that undid me. I scuttled into the dressing room.

“When I emerged, Rosario was sitting on the sand, watching Lilí romp with some children in a tidal pool. I sank down beside her. She stretched her limbs and let out a groan of relaxation, as if only at that moment had she shed her burdens. ‘Would you rub some lotion on my back?’ she asked, not taking her attention off her daughter. The swimsuit was cut low in the rear, almost to the sacrum. The flesh was smooth as meerschaum, except for a tiny heart-shaped mole near the fifteenth vertebra (I counted them in an effort to calm myself). My hand was on fire. A crushing ache had me in torment. I tried to relieve this through speech, telling Rosario how voluptuous I found her. The liberties I allowed myself only inflamed me more. Of course, I was also testing the waters. ‘Oh, Miguel,’ she said, ‘you and your flattery!’

“Don’t do anything rash , I cautioned myself. Bide your time. Didn’t the sheer freedom to luxuriate in Rosario's presence amount to progress?

“We had lunch on the patio. Lilí was transfixed by the fan-pleated napkins, the staff's uniforms, the Noah's ark of new faces. A waiter brought her a cushion to perch on and helped her choose from the menu. He was lame. After he left, she said to us, quite stricken: ‘That poor man, he's like Esmeralda’-her doll, who had lost a foot. She laid out the seashells she’d collected, and aligned them by order of preciousness. When the waiter presented the check, she shyly pushed her three prize specimens in his direction.

“While Lilí had her nap, Rosario and I sat on the terrace. The canvas awning cast a shadow that stopped on her thighs just at the line where her skirts usually fall. The sun floodlit those legs of hers. I kept glancing at them, insatiable. She appeared to be drowsing. It sounds absurd, but I would swear her knees caught me spying. More than once I’ve been unnerved by the way that her gaze-which I live for-suddenly retracts. Well, now she locked her legs-rigid, canted off to one side-and her entire body seemed to retract. I actually shivered. Then they did something negligible, and momentous-to this day, I have the impression it was the legs alone, independent, that did it. They opened far enough for a fist to slide in between them, and the farther one slowly rose about an inch, as if to gauge my reaction. The movement was so-brazen.

“Somebody began to whisper with furious intensity, telling Rosario all my secrets. Only as the torrent subsided did I realize who was talking. Rosario jumped to her feet. Had I outraged her? Was she storming off to phone Roberto? A hoarse cry-‘Mommy!’-came from the room. Rosario must have picked up an earlier cry that I, in my agitation, had missed. For a second, she stared at me.”

The doorbell rang. Miguel, stranded on the sunstruck terrace, blinked.

“My next student.”

“Ah.”

“Roberto.”

I went and let him in. Seeing Miguel, he smiled.

“Did you mention my idea?” Roberto asked him.

“No… I wanted you to.”

“Miguel and I both need to work on mechanics, right? Why not coach each other, to accelerate the process? One week, say, Miguel practices leaps: I zero in on the problems. The next week he does the same for me. That way, we’ll get to the four-hand repertoire before we grow long beards! Maybe once a month, we could have a joint session with you, to make sure we’re not leading each other astray.”

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