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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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We returned to Lafayette, where I was fitted with a wooden prosthesis and began my life as a cripple, learning to hobble around my bedroom with the help of Mother and Dottie B. My mother acted falsely chipper and then wept periodically in her bedroom, muffled, gasping sobs. I assumed she was crying for me and feeling guilty, but the situation was more complicated than that. Three months later, when I could finally manage to get downstairs on my own, using a cane, I told Mother I was going to walk across the street, alone, to Dottie B.’s. I can’t remember if she encouraged or discouraged me, but it wouldn’t have mattered. I was determined to go.

Since I’d last been outside, the seasons had changed. The world had gone gray and cold. It was only midafternoon, but the lights were already shining in Dottie's house. I left Mother standing on our porch, arms folded, watching me go. When I reached Dottie's front steps and turned to wave, she’d already gone back inside. Did she act different right before I left? I couldn’t say, because I’d been preoccupied with making my escape, with getting some relief from her weeping.

A couple of hours later I returned home, sweating with exhaustion. When I called for Mother, she didn’t answer. Upstairs, in my parents’ bedroom, I saw that her clothes were gone from the wardrobe. I rummaged around the house for a note, all the while knowing I’d never find one. She had taken the sudden opportunity to leave, and she hadn’t wanted to linger long enough to write a note, having no idea when I’d return. Maybe she told herself she’d send me a letter when she got to wherever she was going, thinking that a letter would be better than a note anyway. She’d have time to really think about what she wanted to say.

On her bedside table lay Go Forth and Find , a leather bookmark near the middle. Later I read the book cover to cover. It was a romance as banal and unbelievable as the stories of Frank Merriwell's athletic prowess, and I assured myself that the book hadn’t influenced her in any way. She’d read many such romances, and surely she knew how far-fetched they were. Besides, she’d told me it was tedious. She hadn’t finished it, and didn’t bother to take it with her, because maybe, at long last, she’d found the real thing. I wanted very much to believe that.

One afternoon, not long after her departure, Father sat on the sofa beside me in the parlor, wearing only his undershirt and pajama pants, his fake glasses and moustache gone, his stopwatch abandoned.

“You sure?” he kept asking me. “She didn’t talk to any men?”

I never mentioned Harry Jones to anyone. I told myself that I was keeping our secret, and that Mother wouldn’t have wanted me to blab, but that was only part of it. Harry Jones seemed like a fantasy, a figment of our imagination, and I didn’t want to expose him to the harsh light of conventional Lafayette. Besides, she could’ve gone anywhere, with anyone.

“None?” my father said again. “No men at all?”

I recalled her saying good-bye to Buster, thanking him profusely. “Nobody except Buster,” I told my father, and he wrote the name in a notebook.

I felt terrible that I might’ve caused Buster some trouble, so I lashed out. “Dottie told me she saw you in Indianapolis. With your cousin.”

He flushed but didn’t hesitate. “That's preposterous. I haven’t gone anywhere near Indianapolis in months.” Then he gave me his superintendent's smile. “Dottie's not too bright, son.” He patted my good leg, got up, and left the room. He never again pestered me about Mudlavia, and after a while he refused to speak about my mother at all.

For a while I thought about trying to write to Harry, or waiting till I got a little older and looking him up in Chicago, but I did neither of these things, telling myself that Harry Jones couldn’t possibly be his real name. I tried to accept my losses, feeling deep down that I was at fault for losing both my leg and my mother. Of course, when I was angry, I also had to ask myself how she could have gone off and left her only son. Especially one who needed her so badly. Perhaps it was because I needed her so badly. Or perhaps her flight had nothing to do with me, or with my father, or with Harry Jones, or with anything or anyone we knew about. I kept expecting to turn around and see her, and often thought I heard her calling me on the street. Even now, even though she's long dead, I’m still waiting for her to reveal herself, wearing her egret-feather hat.

After I went away to college in Bloomington, I received a letter from my mother's sister, May, in Cleveland, whom I hadn’t seen or heard from in years. Aunt May wondered if my father had told me the truth about what happened to my mother. My mother had written to me many times, the letter said, but May suspected that Father had never shown me her letters. My father, she wrote, had been notified that Mother was hit by a trolley and killed not even a year after she left home. She’d been living alone in San Francisco, working in a hat shop, trying to make a new start. Someone had sent her the money to go out there, set herself up, and hire a lawyer. She’d served my father with divorce papers, which he’d refused to sign. “You must believe,” my aunt wrote, “that your mother loved you and didn’t want to leave you. She intended to send for you, but she had to escape first.” May said that she had no idea who had given my mother the money she needed, but I thought I knew.

I fired off a blistering letter to my father, but he didn’t respond. He continued to pay my tuition and expenses, but after I graduated we didn’t speak again for seven years, until after the birth of my first child.

I did hate my father for a while, but I never could bring myself to hate my mother. Even now I’d give anything to be with her again, to sit close to her the way I did on the bus to Mudlavia, to laugh with her as we did in the dining room, to hear her breathing quietly in the bed next to mine. I long to go back in time, before everything changed, and in this, I realize, I’m no different from anyone else. Life eventually takes away everything it gives.

Five months after my mother left, America entered World War I. My father began spending more and more time in Indianapolis, and we moved there when he took a position as superintendent of the Indianapolis public schools. Dottie B. and I married young. I worked my way through medical school in Bloomington and became an orthopedic surgeon. Dot-tie B. wrote a number of popular children's books, including one best seller: The Floosenettes Go to Mars. We had five children. Our oldest son, a farmer with young children of his own, suffocated in a grain bin at age thirty-three. Our youngest daughter, when she was twenty-nine, won a medal in kayaking at the 1976 Olympic Games in Montreal. I never returned to Mudlavia, but I read in the newspaper that it burned down, and was rebuilt, and burned down again, and today is a pile of rubble.

In the late summer I always remember Mudlavia, and not with any bad feelings. I remember the gurgling fountain and the hollyhocks, the wide porch, the soggy baked Alaska. Buster saying, in his southern drawl, “Relax and get well.” Harry whispering, “This place is a con game.” I remember lying beneath the mud, soaking it up, the stillness and the smell and the flies buzzing, forgetting myself, forgetting that I was even a human being with all the worries and vanities and self-deception that go along with it, and I think that if I could’ve stayed there forever, buried in mud, I might’ve had a happy life, instead of simply a good one.

Kevin Brockmeier

The Brief History of the Dead

from The New Yorker

WHEN THE blind man arrived in the city, he claimed that he had traveled across a desert of living sand. First he had died, he said, and then- snap! -the desert. He told the story to everyone who would listen, bobbing his head to follow the sound of their footsteps. Showers of red grit fell from his beard. He said that the desert was bare and lonesome and that it had hissed at him like a snake. He had walked for days and days, until the dunes broke apart beneath his feet, surging up around him to lash at his face, then everything went still and began to beat like a heart. The sound was as clear as any he had ever heard. It was only at that moment, he said, with a million arrow-points of sand striking his skin, that he had truly realized he was dead.

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