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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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On her suddenly furrowed brow, in the faint tremor of her extended paw, he thought he read an entreaty. It both touched and irritated him. He would like to have owned a dog with more spirit. Even after he had put her dish of food on the kitchen floor, she would hesitate, stare fixedly at his face until he said, heartily, “Go ahead, Grace,” or, “There you are! Dinner!”

He entered Central Park in the early evening to take their usual path, and the farther he walked from the apartment house where he lived the more benign he felt. A few of the people he encountered, those without dogs of their own, paused to speculate about Grace's age or her breed.

“The classical antique dog,” pronounced an elderly man in a long raincoat, the hem of which Grace sniffed at delicately.

John had decided she was about three years old, as had been estimated by the people at the animal shelter where he had found her. But most of the people who spoke to him in the park thought she looked older.

“Look at her tits. She's certainly had one litter. And some of her whiskers are white,” observed a youngish woman wearing a black sweatshirt and baggy gray cotton trousers. As she looked at John her expression was solemn, her tone of voice impersonal. But he thought he detected in her words the character of a proclamation: “Tits” was a matter-of-fact word a woman could say to a man unless he was constrained by outmoded views.

What if, he speculated, inflamed by her use of the word, he had leaped upon her and grabbed her breasts, which, as she spoke, rose and fell behind her sweatshirt like actors moving behind a curtain?

“You’re probably right,” he said as he glanced up at a park lamp that lit as he spoke, casting its glow on discarded newspapers, fruit-juice cartons, crushed cigarette packs, and empty plastic bottles that had contained water. He had seen people, as they walked or ran for exercise, pausing to nurse at such bottles, holding them up at an angle so that the water would flow more quickly into their mouths. Perhaps they were merely overheated.

“I don’t know much about dogs,” he added.

She was pleasant-looking in a fresh, camp-counselor style, around his age, he surmised, and her stolid-footed stance was comradely. He would have liked to accompany her for a few minutes, a woman who spoke with such authority despite the ugliness of her running shoes. He knew people wore such cartoon footwear even to weddings and funerals these days. Meanwhile, he hoped she wouldn’t suddenly start running in place or stretch her arms or do neck exercises to ease whatever stress she might be experiencing, emitting intimate groans as she did so.

When he was speaking with people, he found himself in a state of apprehension, of nervous excitement, lest he be profoundly offended by what they said or did. For nearly a year, he had dated a girl who did such neck cycles at moments he deemed inappropriate. After completing one she had done in a bar they frequented, she had asked him, “Didn’t I look like a kitty-cat?” “No!” he replied, his voice acid with distaste. At once he regretted it. They spent the night lying in her bed like wooden planks. The next morning she dressed in silence, her face grim. He had tried to assuage her with boyish gaiety. She had broken her silence with one sentence: “I don’t want to see you anymore.”

“Have a good day,” said the woman in the baggy trousers, crimping her fingers at him as she sloped down the path. He bent quickly to Grace and stroked her head. “But it's night,” he muttered.

Was the interest expressed by people in the park only for his dog? Was he included in their kindly looks? When the walk was over, John felt that he was leaving a country of goodwill, that the broad avenue he would cross when he emerged from the park to reach his apartment house was the border of another country, New York City, a place he had ceased to love this last year.

Grace made for frequent difficulty at the curb. If the traffic light was green and northbound cars raced by, she sat peacefully on her haunches. But when the light changed to red and the traffic signal spelled WALK, Grace balked, suddenly scratching furiously at the hardened earth at the base of a spindly tree or else turning her back to the avenue. John would jerk on the leash. Grace would yelp. It was such a high, thin, frightened yelp. John would clench his jaw and yank her across the avenue, half wishing a car would clip her.

In the elevator, a few seconds later, he would regret his loss of control. If only Grace would look up at him. But she stared straight ahead at the elevator door.

The trouble with owning a dog is that it leaves you alone with a private judgment about yourself, John thought. If a person had accused him of meanness, he could have defended himself. But with a dog-you did something cheap to it when you were sure no one was looking, and it was as though you had done it in front of a mirror.

John hoped that Grace would forget those moments at the curbside. But her long silky ears often flattened when he walked by her, and he took that as a sign. The idea that she was afraid of him was mortifying. When she cringed, or crept beneath a table, he murmured endearments to her, keeping his hands motionless. He would remind himself that he knew nothing about her past; undoubtedly, she’d been abused. But he always returned, in his thoughts, to his own culpability.

To show his good intentions, John brought her treats, stopping on his way home from work at a butcher shop to buy knucklebones. When Grace leaped up and whimpered and danced as John was opening the door, he would drop his briefcase and reach into a plastic bag to retrieve and show Grace what he had brought her. She would begin at once to gnaw the bone with the only ferocity she ever showed. John would sit down in a chair in the unlit living room, feeling at peace with himself.

After he gave her supper he would take her to the park. If all went well, the peaceful feeling lasted throughout the evening. But if Grace was pigheaded when the traffic light ordered them to walk-or worse, if the light changed when they were in the middle of the avenue and they were caught in the rush of traffic and Grace refused to move, her tail down, her rump turned under-then John, despite his resolution, would jerk on the leash, and Grace would yelp. When this happened, he had to admit to himself that he hated her.

This murderous rage led him to suspect himself the way he suspected the men who walked alone in the park, shabbily dressed and dirty, men he often glimpsed on a path or standing beneath the branch of a tree halfway up a rise. In his neighborhood there were as many muggings during the day as there were at night. Only a week earlier a man had been strangled less than one hundred yards from the park entrance. Now that it was early summer, the foliage was out, and it was harder to see the direction from which danger might come.

A day after the murder, he wondered if his cry would be loud enough to bring help. He had never had to cry out. He stood before his bathroom mirror, opened his mouth, and shut it at once, imagining he had seen a shriek about to burst forth, its imminence signaled by a faint quivering of his uvula.

Grace didn’t bark-at least he’d never heard her bark-and this fact increased his worry. Would she silently observe his murder, then slink away, dragging her leash behind her?

Sometimes he wished she would run away. But how could she? He didn’t let her off the leash as some owners did their dogs. Were he to do so, she was likely to feel abandoned once again.

He had got Grace because he had begun to feel lonely in the evenings and on weekends since the end of his affair with the kitty-cat girl, as he named her in memory. In his loneliness, he had begun to brood over his past. He had been slothful all his life, too impatient to think through the consequences of his actions. He had permitted his thoughts to collapse into an indeterminate tangle when he should have grappled with them.

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