The O. Henry Prize Stories 2011

by Laura Furman

  I don’t know how to dance to this music, I say.

  Just follow my lead, Nancy says. She starts pushing me around the floor. I step on her foot once and she winces, but her smile climbs right back onto her face. She has waxy skin and bright red lips. Her hair is a cake of white curls. Her face sits behind a veil of wrinkles and creases, but the smile shines through it. She’s light in my arms and I take care not to crush her. She’s saying, Step and step and step and step. I smell the gin on her breath and I like it.

  When I finally get the step, she says, Atta boy!

  Her hands are rubbing at my back. I feel it in my chest, this feeling of almost burning warmth. It’s been a long time since I felt it. It’s how my body responds to kindness. I used to feel it at school, when a teacher would lean over me and show me how to draw cursive letters. Or when an older kid showed me how to fly a kite. I thought I had outgrown the ability to have that feeling. I had forgotten about it. But here I am, feeling it again as Nancy rubs my back.

  I’m lost in these thoughts when Chet taps me on the shoulder and asks to cut in. I surrender Nancy like a real gentleman, transferring her hand like it’s a parakeet that has to hop from my finger to his. He says, Thank you kindly, sir, and pretends to tip a hat.

  No problem, sir, I say.

  What a classy bunch of fellas, Nancy says, eyes rolling.

  Looking out from the haze trapped in my car, I can see them, silhouettes jitterbugging in the rosy window. The music is faint, but I tap along on the steering wheel. Maybe it’s sad to say, but it’s been just about the best party I’ve ever attended. Through the window they look like a movie flashed on a wall, hanging in space with no connection to time. It seems impossible that I stepped out from it, or that I could get back in. It’s like a soap bubble you try to put in your pocket.

  I pick up the mustache, which has curled up from the heat, and I smooth it under my nose. It still has some stick. From across the street, I hear a song end and everyone shouts out, More!

  That’s all I need to be called back. I cross the dark street and walk up the curvy brick path. I finish the joint leaning against a massive pepper tree, listening as I press at the mustache.

  They’re laughing in waves, singing harmonies. Someone’s mixing drinks, shaking ice like a maraca. Someone’s slicing meat with an electric knife. Why couldn’t I have met them a long time ago, and played their music and eaten their cheese and crackers and drank their gin? But they didn’t exist a long time ago, I know. Not as they are now. They only exist now and not much into later.

  My dad didn’t talk much. In the time I knew him, he only said one religious thing. He said, You know why people like beats? Because they tell you what’s going to happen next. I’ve thought about that a lot. I think he was talking about patterns, about loops. And it’s true that once you hear a measure or two of the beat, you know what’s going to happen next and what to do when it happens. And the part that makes me think everything still has a chance—always has a chance—to work out is that you never know when the beat has completed a full cycle. This means everything in life that seems so random could actually be part of a beat. We just don’t know yet. The full measure hasn’t been played.

  The door opens and one of the ladies peers out. It’s Nancy.

  There you are, Stanley! she says when her eyes lock in on me.

  I wave, thinking I should probably tell her my real name.

  Don’t think I don’t recognize you behind those handlebars.

  I touch the mustache and smile.

  She shuffles toward me and I offer my arm.

  Got you right where I want you, she says.

  She slowly leads me around to the other side of the pepper tree.

  Whoops. Tipsy, she says when she trips on a root.

  We step out on the lawn under the massive dark canopy. I can see a rope slicing down from a high branch, catching light from the house. I follow it down with my eyes and see that it is weighted on the end with a tire swing. Nancy pulls me to it.

  We have this here for the grandkids, but they’ve outgrown it, she explains. It needs a muscle man to get it going and here you are. Lift me?

  Before I know it, she has both her arms around my neck and she’s hanging off me like a human necklace. I scoop up her legs and slide her into the tire. All I can say is, Really? You want to swing?

  Swing, baby, swing, she says. Be-dap bap bap!

  I look up at the rope. It looks solid, but it’s dark so who can tell. I stand back. There’s a buzzed eighty-year-old woman hanging a couple feet off the ground in front of me, jewelry jangling, white hair slightly aglow.

  Come fly with me, she sings, Come fly, we’ll fly away!

  I’ll swing her a little, I think. Why not?

  I push her gently forward again. She’s shaking her head.

  Come on now, she says. Put some muscle into it! We’re not going to get off the ground if that’s your idea of swinging.

  I give her a good push and she swings out over some of the yard.

  That’s better!

  She swings back into me and I grab on to the tire and throw it out into the darkness. She goes with it, saying, Atta boy. Now really put your back into it!

  She comes back at me and I sidestep her like a bullfighter, but as she passes by again, I throw my weight into a push that drops me to my knees. I watch her sail up and away, then reach the top of her arc, ease to a point, then fall back at me. She’s yelling, Woohoo!

  I roll out of the way and get to my feet in time to add to her momentum as she swings by. I watch her flying upward, now higher than the roof of the house. So high, her feet are up above her and her head aimed at the ground. The rope is creaking. The tree is moaning, shuddering when she hits the end of some slack.

  All the way, honey! Loop-the-loop! Loop-the-loop!

  I stand back and watch her moving past me like the arm of a metronome. She’s keeping time but losing the beat with every pass, slowing more and more, until I come in and use everything I have to get her back on the beat, to hold the time steady. It will only slow down if I let it. I step in after her as she jangles by and try to send her over the top.

  Glorious! she shouts as she sails up into the darkness.

  Then I hear the guys yelling inside. Something crashes and someone screams. Be right back, I tell Nancy, giving her another shove into space.

  Inside, I find the living room a mess. The coffee table has been knocked over and crackers and peanuts cover the ground. The guys are trying to pull Wally and Clyde apart as they grapple on the floor. I push in and pick up Wally.

  Clyde comes with him, then lets go and falls to the ground with a grunt. The others pull Wally away as Horace helps Clyde to his feet. Clyde makes a big show of dusting himself off.

  Hey, guys, I say. Chill out!

  You’re lucky this kid came along, Clyde says. I was close to murdering you.

  You see what you did, you son of a bitch! Chet is yelling at Clyde. You see?

  Chet points at Wally’s ear, which is ripped a little by the lobe. Blood runs down into his collar. Wally dabs it and looks at his fingers. He rushes at Clyde but I push him back and he falls onto the couch.

  You’re all a bunch of assholes, Horace says, swatting at the air. You’re all bent on ruining a good thing.

  What’s going on? I say.

  Everything has to end, Wally says. It’s the way of the world. You think you can escape that?

  At first, I think they’re talking about the party, the ladies. But what I soon realize is that they’re talking about the band. They’re talking about breaking up the band.

  I sit down on the couch. Well, goddamn.

  You said it was over when Abe died, Wally tells Clyde.

  Then they’re all shouting about Abe, who I learn was the drummer who just died. Abe was their meter man, their beat. It seems that Clyde promised Abe on his deathbed the band was kaput.

  But you just got to keep going with the charade, Chet says. Look at us,
for Christ’s sake, we’re down from fifteen guys to just the five of us.

  I count the guys and it’s clear that Chet isn’t counting me. I’m six. If they want me, I’m six.

  You think anyone cares about what we’re doing? Chet yells.

  They argue on, shouting in each other’s faces. Ruth comes in and says if they don’t leave she’s calling the police, but they ignore her as they bring up old complaints about each other: Horace is losing his ear and he’s hitting a lot of clinkers. Wally’s lip is shot. Chet can’t make it through a song without getting dizzy.

  It’s DOA, Wally is saying. It’s DOA.

  I reach up and pull off the mustache and smooth it out on my thigh, then crumple it up in my hand and stuff it in my pocket. Outside, I can hear a woman’s frail voice, calling for someone named Stanley.

  Tamas Dobozy

  The Restoration of the Villa

  Where Tíbor Kálmán Once Lived

  Tíbor Kálmán. Tíbor Kálmán’s villa.” That’s what Györgyi told László the night they went AWOL from the camp, the two of them huddled in the barracks amid the other conscripts, boys like them, but asleep, some as young as sixteen, called on in the last hours of the war in a futile effort to salvage a regime already fallen, a country and people already defeated. “We need to get to Mátyásföld,” Györgyi said, “that’s where the villa is. Tíbor Kálmán will give us papers.” But Györgyi didn’t make it far, only to the end of the barracks, to the loose board and through the fence, frantically trying to keep up to László, who always seemed to run faster, to climb better, to see in the dark. László was already waiting on the other side of the ditch, hidden in the thicket, when the guard shouted, when they heard the first crack of bullets being fired, Györgyi screaming where he’d fallen, “My leg! I’ve been shot! Laci help me,” and László looked back at his friend for a second, calculating the odds of getting to him in time, the two of them managing to elude the guards, limping along at whatever speed Györgyi’s leg would allow. They’d be caught, charged with desertion, executed—both of them. And then László turned in the direction he was headed, Györgyi’s cries fading in the distance.

  It was the end of December 1944, and that night, running from the makeshift encampment and its marshaling yard, running and running long after the military police had given up, not wanting to risk their own lives by following him east, László realized it was hopeless, there was a wall of refugees coming at him, and behind it, the Russian guns, already so loud he felt as if they were sounding beside his ears. Budapest was streaming with people fleeing from the suburbs—Rákospalota, Pestszentlörinc, Soroksár, Mátyásföld—because the Red Army had not only arrived to these places already and taken control, but was advancing on Budapest itself.

  So László became part of the human tide flowing from one death trap to another during the siege, and the things he’d seen would live on, unspoken, beneath everything he was to think and say from that point forward. Civilians used as human shields by the Red Army. Nazis exploding bridges over the Danube while there were still families and soldiers streaming across. Men and women forced to carry ammunition across the frozen river to German soldiers stationed on Margit Island while Soviet bullets and shells and bombs rained around them. He saw a soldier holding off two dozen Russians by running up and down the stairs of a devastated building, shooting from every window, making them think there were a dozen other soldiers trapped inside. Young boys crashing in gliders while attempting to fly in supplies for the fascist armies of Hitler and Szálasi, the fields littered with broken fuselages and wings and pilots contorted in positions that seemed to László the war’s alphabet—untranslatable into human terms. There was a broken gas main near Vérmezö that for days shot flame through every crack and hole in the asphalt—blue, orange, yellow—dancing along the road as if fire alone were capable of celebrating what had become of Budapest.

  He’d seen exhausted doctors trying to save patients from a burning hospital, carrying them into the snow only to realize they had nothing—a blanket, a sheet, even a shirt—to keep them from freezing. He’d come across the most beautiful girl, eighteen or nineteen, in one of the ruined homes filled with those too wounded to go on, staring up, whispering from the mass of bodies, injured, starving, gripped by typhus, and as he leaned in to hear what she wanted to say—“Shoot me, please shoot me”—he noticed both her legs had been torn away.

  And all that time László had been tormented by Tíbor Kálmán’s villa—it was like the place was imagining him rather than the other way around—it sometimes appeared in place of what he was running from, and László had to stop himself from leaping into a burning apartment, a metro tunnel, or a garden under shelling, thinking: this is it, finally, I’ve made it.

  After a while, László began to feel protected by the villa, as if the new life it promised was his true life, and the one he was living now only an alias, false, as if there was no one really inside, and that anything that happened was therefore not really happening to him. This is what helped László survive when he was press-ganged, along with a number of other boys and young men fleeing west, into the Vannay Battalion, and ended up doing the very thing he’d hoped to avoid: fighting for the Nazis. He would have liked to remember when it happened, but there were no dates then, the end of December, the beginning of January, sometime during those hundred days of a siege that never did end for him, being hauled out of the cellar where he was hiding by Vannay’s men, him and the rest, given a gun and told what the Russians looked like, and from there the black minutes, schoolboy comrades falling around him, Vannay making radio announcements to the Soviets that they would take no prisoners, and the Soviets responding to this as Vannay had hoped, likewise killing every one of them they captured, which Vannay was only too pleased to tell László and the others, knowing it would make them fight with that much more desperation. And then the breakout attempt of February through Russian lines, German and Hungarian soldiers cut down in the streets as they tried to escape the gutted capital to make it to the forests and then west to where the rest of Hitler’s armies were stationed, running headlong into rockets, tank fire, snipers stationed in buildings along the routes the Soviets knew they would take, drowning in sewers where the water level rose with each body that climbed down the ladder until it was up to their noses, pitch-black, screaming panic. So few of them made it. Three percent, the historians would say. And the rest, the thousands, killed along Széna Square and Lövöház Street and Széll Kálmán Square, piled into doorways, ground up by tanks, swearing, pleading, sobbing, unable to fire off even the last bullet they’d saved for themselves.

  But László was not there. He’d gone over to the other side by then, turning on the boys he was fighting with, aged sixteen and seventeen, shooting them dead as they stared at him dumbstruck, and then saw, over his shoulder, the approaching Russians. He thought he saw a last glimmer of envy in the boys’ eyes, regret at not having thought of it first, before what light there was forever went out, and László turned, feeling something fade inside him as well, his voice cracking at the edges, soft and unwavering as radio silence. “Death to the fascists,” he shouted, and was rewarded with bits of red ribbon the Russians tied around his arm, and a hat they placed on his head, before sending him back into battle.

  It was László’s decoration as a “war hero” by the Soviets that finally brought him to Tíbor Kálmán’s villa late in 1945, to the place where it seemed all his misfortune and redemption were concentrated, where he might be absolved of his guilt for having claimed the place someone better—anyone at all—might have taken, someone worthy of survival, like that legless girl in the makeshift infirmary, for he had done what she asked that day, scrounging among the soldiers crammed wounded or dying or dead into that corridor, found a revolver, and embraced her with one arm while with the other pressed the barrel to her temple. If only he’d gotten to the villa in time, he told himself. If only he’d chosen the one other option he had: death. He knew no
w it was preferable to what he’d done to save himself, though it was too late by then, betrayal had become László’s vocation, and the woman who met him that November day in the doorway of the villa sensed it, with the tired look of someone who has outlasted her interest in life and can’t understand why she’s being provoked by those who insist on living. She introduced herself as Tíbor’s daughter-in-law, Karola, wary enough of László and his uniform to give only the answer he wanted and not a drop more, keeping her voice to a perfect monotone, without a single nuance he might have fastened onto had he been seeking something other than forgiveness.

  “I wish I could help you,” she said. “But Tíbor is dead.”

  László stood there with his military decorations and wondered why he’d come, given that the war was over, and with it his reason for seeking out Tíbor. “He’s dead,” Karola said again. “He was dead when we returned here from Budapest.” And she pointed at the hole left by the bomb in the roof above the dining room, covered with a number of tarps inexpertly sewn together. She told him the story in a manner so offhand it was clear she was still in shock: Tíbor Kálmán had lost both hands when a Russian shell landed on the villa. He’d raised his arms to protect his wife, Ildikó, from the collapse of the ceiling, and a beautiful chandelier of Murano glass sheared off both hands at the wrist, though it hardly mattered to Tíbor by then because both he and Ildikó were dead, crushed by the weight of plaster, bricks, and several tons of antique furniture they’d stored in the attic overhead. Karola stood for a moment, as if waiting for László to respond, and when he didn’t she said, “Anyhow,” and he could see the effort it was costing her to repress a sneer as she scanned the medals on his chest, “you don’t seem to be doing too badly.”