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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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3 P. M.

I walked back to Junior. He was still out cold. I put my face down near his mouth to make sure he was breathing. He was alive, so I dug around in his blue-jeans pockets and found half a cigarette. I smoked it all the way down and thought about my grandmother.

Her name was Agnes, and she died of breast cancer when I was fourteen. My father always thought Agnes caught her tumors from the uranium mine on the reservation. But my mother said the disease started when Agnes was walking back from a powwow one night and got run over by a motorcycle. She broke three ribs, and my mother always said those ribs never healed right, and tumors take over when you don’t heal right.

Sitting beside Junior, smelling the smoke and the salt and the vomit, I wondered if my grandmother's cancer started when somebody stole her powwow regalia. Maybe the cancer started in her broken heart and then leaked out into her breasts. I know it's crazy, but I wondered whether I could bring my grandmother back to life if I bought back her regalia.

I needed money, big money, so I left Junior and walked over to the Real Change office.

4 P. M.

Real Change is a multifaceted organization that publishes a newspaper, supports cultural projects that empower the poor and the homeless, and mobilizes the public around poverty issues. Real Change's mission is to organize, educate, and build alliances to create solutions to homelessness and poverty. It exists to provide a voice for poor people in our community. I memorized Real Change's mission statement because I sometimes sell the newspaper on the streets. But you have to stay sober to sell it, and I’m not always good at staying sober. Anybody can sell the paper. You buy each copy for thirty cents and sell it for a dollar, and you keep the profit.

“I need one thousand four hundred and thirty papers,” I said to the Big Boss.

“That's a strange number,” he said. “And that's a lot of papers.”

“I need them.”

The Big Boss pulled out his calculator and did the math.

“It will cost you four hundred and twenty-nine dollars for that many,” he said.

“If I had that kind of money, I wouldn’t need to sell the papers.”

“What's going on, Jackson-to-the-Second-Power?” he asked. He is the only person who calls me that. He's a funny and kind man.

I told him about my grandmother's powwow regalia and how much money I needed in order to buy it back.

“We should call the police,” he said.

“I don’t want to do that,” I said. “It's a quest now. I need to win it back by myself.”

“I understand,” he said. “And, to be honest, I’d give you the papers to sell if I thought it would work. But the record for the most papers sold in one day by one vendor is only three hundred and two.”

“That would net me about two hundred bucks,” I said.

The Big Boss used his calculator. “Two hundred and eleven dollars and forty cents,” he said.

“That's not enough,” I said.

“And the most money anybody has made in one day is five hundred and twenty-five. And that's because somebody gave Old Blue five hundred-dollar bills for some dang reason. The average daily net is about thirty dollars.”

“This isn’t going to work.”

“No.”

“Can you lend me some money?”

“I can’t do that,” he said. “If I lend you money, I have to lend money to everybody.”

“What can you do?”

“I’ll give you fifty papers for free. But don’t tell anybody I did it.”

“O.K.,” I said.

He gathered up the newspapers and handed them to me. I held them to my chest. He hugged me. I carried the newspapers back toward the water.

5 P. M.

Back on the wharf, I stood near the Bainbridge Island Terminal and tried to sell papers to business commuters boarding the ferry.

I sold five in one hour, dumped the other forty-five in a garbage can, and walked into McDonald’s, ordered four cheeseburgers for a dollar each, and slowly ate them.

After eating, I walked outside and vomited on the sidewalk. I hated to lose my food so soon after eating it. As an alcoholic Indian with a busted stomach, I always hope I can keep enough food in me to stay alive.

6 P. M.

With one dollar in my pocket, I walked back to Junior. He was still passed out, and I put my ear to his chest and listened for his heartbeat. He was alive, so I took off his shoes and socks and found one dollar in his left sock and fifty cents in his right sock.

With two dollars and fifty cents in my hand, I sat beside Junior and thought about my grandmother and her stories.

When I was thirteen, my grandmother told me a story about the Second World War. She was a nurse at a military hospital in Sydney, Australia. For two years, she healed and comforted American and Australian soldiers.

One day she tended to a wounded Maori soldier, who had lost his legs to an artillery attack. He was very dark-skinned. His hair was black and curly and his eyes were black and warm. His face was covered with bright tattoos.

“Are you Maori?” he asked my grandmother.

“No,” she said. “I’m Spokane Indian. From the United States.”

“Ah, yes,” he said. “I have heard of your tribes. But you are the first American Indian I have ever met.”

“There's a lot of Indian soldiers fighting for the United States,” she said. “I have a brother fighting in Germany, and I lost another brother on Okinawa.”

“I am sorry,” he said. “I was on Okinawa as well. It was terrible.”

“I am sorry about your legs,” my grandmother said.

“It's funny, isn’t it?” he said.

“What's funny?”

“How we brown people are killing other brown people so white people will remain free.”

“I hadn’t thought of it that way.”

“Well, sometimes I think of it that way. And other times I think of it the way they want me to think of it. I get confused.”

She fed him morphine.

“Do you believe in Heaven?” he asked.

“Which Heaven?” she asked.

“I’m talking about the Heaven where my legs are waiting for me.”

They laughed.

“Of course,” he said, “my legs will probably run away from me when I get to Heaven. And how will I ever catch them?”

“You have to get your arms strong,” my grandmother said. “So you can run on your hands.”

They laughed again.

Sitting beside Junior, I laughed at the memory of my grandmother's story. I put my hand close to Junior's mouth to make sure he was still breathing. Yes, Junior was alive, so I took my two dollars and fifty cents and walked to the Korean grocery store in Pioneer Square.

7 P.M.

At the Korean grocery store, I bought a fifty-cent cigar and two scratch lottery tickets for a dollar each. The maximum cash prize was five hundred dollars a ticket. If I won both, I would have enough money to buy back the regalia.

I loved Mary, the young Korean woman who worked the register. She was the daughter of the owners, and she sang all day.

“I love you,” I said when I handed her the money.

“You always say you love me,” she said.

“That's because I will always love you.”

“You are a sentimental fool.”

“I’m a romantic old man.”

“Too old for me.”

“I know I’m too old for you, but I can dream.”

“O.K.,” she said. “I agree to be a part of your dreams, but I will only hold your hand in your dreams. No kissing and no sex. Not even in your dreams.”

“O.K.,” I said. “No sex. Just romance.”

“Good-bye, Jackson Jackson, my love. I will see you soon.”

I left the store, walked over to Occidental Park, sat on a bench, and smoked my cigar all the way down.

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