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 unpublished, which does nothing to detract from the eminence of the ones collected here.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 regret threatened to sink him, he made efforts to count his bless- ings. He had a passable job with an accounting firm, an affectionate older sister living in Boston with whom he spoke once a month, and a rent-controlled apartment. He still took pleasure in books. He had been a comparative-literature major in college before taking a business degree, judging that comp lit would get him nowhere. His health was good. He was only thirty-six.

Only! Would he tell himself on his next birthday that he was only thirty-seven, and try to comfort himself with a word that mediated between hope and dread?

He had little time to brood over the past during work, yet in the office he felt himself slipping into a numbness of spirit and body broken only by fits of the looniness he had also observed in colleagues and acquaintances. He called the phenomenon “little breakdowns in big cities.”

His own little breakdowns took the form of an irritability that seemed to increase by the hour. He became aware of a thick, smothering, oily smell of hair in the packed subway trains he rode to and from work. There was so much hair, lank or curly, frizzed or straight, bushy or carved in wedges, adorned with wide-toothed combs, metal objects, bits of leather, rubber bands. There were moments when John covered his mouth and nose with one hand.

Then there was the bearded man he shared an office with. Throughout the day, with his thumb and index finger, he would coil a hair in his beard as though it were a spring he was trying to force back into his skin. When John happened to look up and catch his office mate at it, he couldn’t look away or take in a single word the man was saying.

He was in a fire of rage. Why couldn’t the man keep his picking and coiling for private times?

That was the heart of it, of course: privacy. No one knew what it meant anymore. People scratched and groomed themselves, coiled their hair, shouted, played their radios at full volume, ate, even made love in public. Not that anyone called it lovemaking.

On a scrap of paper that he found on his desk, John wrote:

Name's Joe Sex

You can call me Tex

You kin have me, have me

At 34th and Lex.

He rolled it up into a ball and aimed at but missed the wastebasket. Later that day, a secretary retrieved it and read it aloud to the staff. People grew merry and flirtatious. He was thanked by everyone for cheering them up, for lightening the day.

On the weekend before he found Grace at the animal shelter, he wrote three letters to the New York Times. The first was to a noted psychiatrist who had reviewed a study of child development, calling it an “instant classic.” John wrote: “An instant classic is an oxymoron. A classic is established over time, not in an instant.”

The second was sent to a book reviewer who had described a detective story as lovingly written. “Lovingly,” John wrote, “is not an adverb that applies to literature, especially thrillers when they concern criminal activity.”

His third letter was about a term, “street smart,” used by a writer to describe a novel's heroine. “This is a superficially snappy but meaningless cliché that trivializes reality,” he wrote. “On the street, the truth is that people stumble about in confusion and dismay even when they are making fortunes selling illegal drugs. People are smart for only a few minutes at a time.”

While he was writing the letters he felt exalted. He was battling the degradation of language and ideas. But the intoxication soon wore off. He stared down at the letters on his desk. They looked less than trivial. He crumpled them and threw them into a wastebasket.

He came to a decision then. What he needed was a living creature to take care of; an animal would be a responsibility that would anchor him in daily life.

On weekends, Grace was a boon. John played with her, wearing an old pair of leather gloves so her teeth wouldn’t mark his hands. He bought rubber toys in a variety store, and she learned to chase and fetch them back to him. Once, while he lay half-asleep in his bathtub, she brought him a rubber duck. “Why Grace,” he said, patting her with a wet hand, “how appropriate!”

Perhaps dogs had thoughts. How else to explain the way Grace would suddenly rise from where she was lying and go to another room? Something must have occurred to her.

She followed him about as he shaved, made breakfast, washed his socks, dusted the furniture with an old shirt. When he sat down with his newspaper, she would curl up nearby on the floor. In the three months he had owned her, she had grown glossy and sleek. He liked looking at her. Where had she come from?

As if feeling his gaze, she stared up at him. At such moments of mutual scrutiny, John felt that time had ceased. He sank into the natural world reflected in her eyes, moving toward an awareness to which he was unable to give a name.

But if he bent to pet her, she would flatten her ears. Or if he touched her when she was up, her legs would tremble with the effort to remain upright yet humble. Or so he imagined.

One day he came home from work at noon. He had felt faint while drinking coffee at his desk in the office. Grace was not at the door to welcome him. He called her. There was no response.

After a thorough search, surprised by the violent thumping of his heart, he discovered her beneath the box springs of his bed. “Oh, Grace!” he exclaimed reproachfully. As soon as he had extricated her, he held her closely, her small hard skull pressed against his throat. After a moment he put her down. “You gave me a scare,” he said. Grace licked her flank. Had his emotion embarrassed her?

John's throat was feeling raw and sore, but he took Grace for a walk right away. She might have been confused by the change in her routine. At the park entrance, she sat down abruptly. He tugged at the leash. She sat on-glumly, he thought. He picked her up and walked to a patch of coarse grass and placed her on it. Dutifully, she squatted and urinated. A dozen yards or so away, John saw a black dog racing around a tree while its owner watched it, swinging a leash and smiling.

Grace seemed especially spiritless today. Later, propped up by pillows in bed and drinking tea from a mug printed with his initials-a gift from the kitty-cat girl-he wondered if Grace, too, was sick.

She was lying beneath the bedroom window, her paws twitching, her eyes rolled back leaving white crescents below her half-closed lids. He tried to forget how he had dragged her back home after their brief outing.

Of course, animals didn’t hold grudges. They forgave, or forgot, your displays of bad temper. Yet they must have some form of recollection, a residue of alarm that shaped their sense of the world around them. Grace would have been as exuberant as the black dog circling the tree if her pup- pyhood had been different. She pranced and cried when John came home from work, but wasn’t that simply relief? My God! What did she do in the apartment all day long, her bladder tightening as the hours accumulated, hearing, without understanding, the din of the city beyond the windows?

John felt better toward dusk, after waking from a nap. He determined to take Grace to a veterinarian. He ought to have done so long ago. In the telephone directory, he found a vet listed in the West Eighties, a few blocks from his apartment house.

The next morning he called his office to say that he wouldn’t be in until after lunch; he had to go to the doctor. Did the secretary sense an ambiguity in his voice when he mentioned a doctor? She didn’t know that he had a dog. No one in the office knew.

Yet was it possible that his evasions, his lies, were transparent to others? And they chose not to see through them because the truth might be so much more burdensome?

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