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The O. Henry Prize Stories 2018 (The O. Henry Prize Collection)
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About The O. Henry Prize Stories 2018
Product Description The O. Henry Prize Stories 2018 contains twenty prize-winning stories chosen from thousands published in literary magazines over the previous year. The winning stories come from a mix of established writers and emerging voices, and are uniformly breathtaking. They are accompanied by essays from the eminent jurors on their favorites, observations from the winning writers on what inspired their stories, and an extensive resource list of magazines that publish short fiction. "The Tomb of Wrestling," Jo Ann Beard, Tin House "Counterblast," Marjorie Celona, The Southern Review "Nayla," Youmna Chlala, Prairie Schooner "Lucky Dragon," Viet Dinh, Ploughshares "Stop ’n’ Go," Michael Parker, New England Review "Past Perfect Continuous," Dounia Choukri, Chicago Quarterly Review "Inversion of Marcia," Thomas Bolt, n+1 "Nights in Logar," Jamil Jan Kochai, A Public Space "How We Eat," Mark Jude Poirier, Epoch "Deaf and Blind," Lara Vapnyar, The New Yorker "Why Were They Throwing Bricks?," Jenny Zhang, n+1 "An Amount of Discretion," Lauren Alwan, The Southern Review "Queen Elizabeth," Brad Felver, One Story "The Stamp Collector," Dave King, Fence "More or Less Like a Man," Michael Powers, The Threepenny Review "The Earth, Thy Great Exchequer, Ready Lies," Jo Lloyd, Zoetrope "Up Here," Tristan Hughes, Ploughshares "The Houses That Are Left Behind," Brenda Walker, The Kenyon Review "We Keep Them Anyway," Stephanie A. Vega, The Threepenny Review "Solstice," Anne Enright, The New Yorker Prize Jury for 2018: Fiona McFarlane, Ottessa Moshfegh, Elizabeth Tallent Review "Widely regarded as the nation's most prestigious awards for short fiction." -- The Atlantic Monthly"This year’s twenty O. Henry Prize Stories place the poetic qualities of the short story on full display." -- The New Criterion "The latest installment of the storied short fiction prize volume . . . [is] a strong collection of first-rate work without a false note. Essential for students of the form." -- Kirkus Reviews About the Author Laura Furman, series editor of The O. Henry Prize Stories since 2003, is the winner of fellowships from the Guggenheim Foundation and the National Endowment for the Arts for her fiction. The author of several books, including the story collection The Mother Who Stayed, she taught writing for many years at the University of Texas at Austin. She lives in Central Texas. Excerpt. © Reprinted by permission. All rights reserved. Introduction The subject matter of the twenty stories in The O. Henry Prize Stories is so varied that even naming it feels reductive: a violent home invasion, an illiterate writer of letters from the dead, a retrospective homage to a failed marriage, an inconspicuous man in a very small town who bears witness to the great world’s horrors. It becomes second nature for passionate readers to identify and consider the elements of fiction: plot, language, characters, setting. Subject matter seems like the most obvious one, yet is perhaps the least important in the long run. While an interesting subject might initially attract readers, it won’t keep them there unless the formal elements are in balance. For the author, subject matter is more complicated. Each element of a story can seem to have its own notion of its importance, so that the writer often feels in control of nothing. Add to this the fact that a writer can start with one idea of what the story is about and end by realizing that it’s about something else entirely. Many authors say that they write to understand their own lives, so that even when a writer thinks she’s creating a unique, completely invented character, she isn’t surprised to recognize someone she knows lurking in the portrait—or even herself. Nothing matters in the end except the story itself. After you have completed a story in The O. Henry Prize Stories 2018, you might find you have two different answers to the questions “What is the subject matter?”
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