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 unpublished, which does nothing to detract from the eminence of the ones collected here.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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Ten minutes after I finished the cigar, I scratched my first lottery ticket and won nothing. I could only win five hundred dollars now, and that would only be half of what I needed.

Ten minutes after I lost, I scratched the other ticket and won a free ticket-a small consolation and one more chance to win some money.

I walked back to Mary.

“Jackson Jackson,” she said. “Have you come back to claim my heart?”

“I won a free ticket,” I said.

“Just like a man,” she said. “You love money and power more than you love me.”

“It's true,” I said. “And I’m sorry it's true.”

She gave me another scratch ticket, and I took it outside. I like to scratch my tickets in private. Hopeful and sad, I scratched that third ticket and won real money. I carried it back inside to Mary.

“I won a hundred dollars,” I said.

She examined the ticket and laughed.

“That's a fortune,” she said, and counted out five twenties. Our fingertips touched as she handed me the money. I felt electric and constant.

“Thank you,” I said, and gave her one of the bills.

“I can’t take that,” she said. “It's your money.”

“No, it's tribal. It's an Indian thing. When you win, you’re supposed to share with your family.”

“I’m not your family.”

“Yes, you are.”

She smiled. She kept the money. With eighty dollars in my pocket, I said good-bye to my dear Mary and walked out into the cold night air.

8 P. M.

I wanted to share the good news with Junior. I walked back to him, but he was gone. I heard later that he had hitchhiked down to Portland, Oregon, and died of exposure in an alley behind the Hilton Hotel.

9 P. M.

Lonesome for Indians, I carried my eighty dollars over to Big Heart's in South Downtown. Big Heart's is an all-Indian bar. Nobody knows how or why Indians migrate to one bar and turn it into an official Indian bar. But Big Hearts has been an Indian bar for twenty-three years. It used to be way up on Aurora Avenue, but a crazy Lummi Indian burned that one down, and the owners moved to the new location, a few blocks south of Safeco Field.

I walked into Big Hearts and counted fifteen Indians-eight men and seven women. I didn’t know any of them, but Indians like to belong, so we all pretended to be cousins.

“How much for whiskey shots?” I asked the bartender, a fat white guy.

“You want the bad stuff or the badder stuff?”

“As bad as you got.”

“One dollar a shot.”

I laid my eighty dollars on the bar top.

“All right,” I said. “Me and all my cousins here are going to be drinking eighty shots. How many is that apiece?”

“Counting you,” a woman shouted from behind me, “that's five shots for everybody.”

I turned to look at her. She was a chubby and pale Indian woman, sitting with a tall and skinny Indian man.

“All right, math genius,” I said to her, and then shouted for the whole bar to hear. “Five drinks for everybody!”

All the other Indians rushed the bar, but I sat with the mathematician and her skinny friend. We took our time with our whiskey shots.

“What's your tribe?” I asked.

“I’m Duwamish,” she said. “And he's Crow.”

“You’re a long way from Montana,” I said to him.

“I’m Crow,” he said. “I flew here.”

“What's your name?” I asked them.

“I’m Irene Muse,” she said. “And this is Honey Boy.”

She shook my hand hard, but he offered his hand as if I was supposed to kiss it. So I did. He giggled and blushed, as much as a dark-skinned Crow can blush.

“You’re one of them two-spirits, aren’t you?” I asked him.

“I love women,” he said. “And I love men.”

“Sometimes both at the same time,” Irene said.

We laughed.

“Man,” I said to Honey Boy. “So you must have about eight or nine spirits going on inside you, enit?”

“Sweetie,” he said. “I’ll be whatever you want me to be.”

“Oh, no,” Irene said. “Honey Boy is falling in love.”

“It has nothing to do with love,” he said.

We laughed.

“Wow,” I said. “I’m flattered, Honey Boy, but I don’t play on your team.”

“Never say never,” he said.

“You better be careful,” Irene said. “Honey Boy knows all sorts of magic.”

“Honey Boy,” I said, “you can try to seduce me, but my heart belongs to a woman named Mary.”

“Is your Mary a virgin?” Honey Boy asked.

We laughed.

And we drank our whiskey shots until they were gone. But the other Indians bought me more whiskey shots, because I’d been so generous with my money. And Honey Boy pulled out his credit card, and I drank and sailed on that plastic boat.

After a dozen shots, I asked Irene to dance. She refused. But Honey Boy shuffled over to the jukebox, dropped in a quarter, and selected Willie Nelson's “Help Me Make It Through the Night.” As Irene and I sat at the table and laughed and drank more whiskey, Honey Boy danced a slow circle around us and sang along with Willie.

“Are you serenading me?” I asked him.

He kept singing and dancing.

“Are you serenading me?” I asked him again.

“He's going to put a spell on you,” Irene said.

I leaned over the table, spilling a few drinks, and kissed Irene hard. She kissed me back.

10 P.M.

Irene pushed me into the women's bathroom, into a stall, shut the door behind us, and shoved her hand down my pants. She was short, so I had to lean over to kiss her. I grabbed and squeezed her everywhere I could reach, and she was wonderfully fat, and every part of her body felt like a large, warm, soft breast.

MIDNIGHT

Nearly blind with alcohol, I stood alone at the bar and swore I had been standing in the bathroom with Irene only a minute ago.

“One more shot!” I yelled at the bartender. “You’ve got no more money!” he yelled back. “Somebody buy me a drink!” I shouted. “They’ve got no more money!” “Where are Irene and Honey Boy?” “Long gone!”

2 A.M.

“Closing time!” the bartender shouted at the three or four Indians who were still drinking hard after a long, hard day of drinking. Indian alcoholics are either sprinters or marathoners.

“Where are Irene and Honey Boy?” I asked.

“They’ve been gone for hours,” the bartender said.

“Where’d they go?”

“I told you a hundred times, I don’t know.”

“What am I supposed to do?”

“It's closing time. I don’t care where you go, but you’re not staying here.”

“You are an ungrateful bastard. I’ve been good to you.”

“You don’t leave right now, I’m going to kick your ass.”

“Come on, I know how to fight.”

He came at me. I don’t remember what happened after that.

4 A.M.

I emerged from the blackness and discovered myself walking behind a big warehouse. I didn’t know where I was. My face hurt. I felt my nose and decided that it might be broken. Exhausted and cold, I pulled a plastic tarp from a truck bed, wrapped it around me like a faithful lover, and fell asleep in the dirt.

6 A.M.

Somebody kicked me in the ribs. I opened my eyes and looked up at a white cop.

“Jackson,” the cop said. “Is that you?”

“Officer Williams,” I said. He was a good cop with a sweet tooth. He’d given me hundreds of candy bars over the years. I wonder if he knew I was diabetic.

“What the hell are you doing here?” he asked.

“I was cold and sleepy,” I said. “So I lay down.”

“You dumb-ass, you passed out on the railroad tracks.”

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