Whiting Award Winners
Since 1985, the Foundation has supported creative writing through the Whiting Awards, which are given annually to ten emerging writers in fiction, nonfiction, poetry, and drama.
I went to visit Grandma and Ralph for a week right after having learned how to whistle. I whistled at all times, with dedication and complete concentration. When I was asked a question I whistled the answer, I whistled along with people as they talked, I whistled the answer while I worked, I whistled while I played. Eventually they made a rule that whistling was forbidden in their house.
We will rebuild our city, yes—we will, we will build a new city in the image of our old city, a city that will withstand whatever nature sends against it, a city that will rise up into the sky, our mayor said, pointing, his arm trembling, a city raised up into the clouds, a cloud city, a city of the air currents, of the jet streams, of warm fronts and cold fronts, a city that will harness the power of the weather and put it to good use, only good, constructive use.
A Child is Like a Clarinet
for Eliza Harris and Henri Akoka
Similes are dangerous.
To equate a person to
an object, an instrument
no less, is a risk.
A child is like a clarinet.
A mother is like a clarinetist.
Personhood posits
promising possibilities.
Poems are willing to die.
Poems dare, just as Eliza
Harris leaped onto pieces
of ice to cross the frozen
Ohio River with her baby
in her hands. Poems flee,
just as Henri Akoka
jumped onto the top of
a moving train with his
clarinet under his arm.
One of these things
is not like the other.
Can’t you tell? Mouthpiece
from lips, flesh from wood.
His music swims in the room’s colors,
Not making the décor any prettier,
In its war of blood and tar;
His bleak tone blare into blackness
Of hard luck and lights.
Easier to sit in the front row
With your feet propped on stage
Than to play in a room where
Notes are harder to hold than a cheating lover.
As everyone heckles advice,
Somebody tells a fable about
Dignity and the failed attempt.
Like the liftoff of an airliner, the stamping of auto body parts requires inhuman force, producing decibels registered by your internal organs. The presses sound, unmistakably, as if they could kill you, which they could, without much interrupting their normal functioning. You’d notice the collision more than they would.
My job here is a strange one. The description I found in the classifieds read: “Overnight counselor-in-residence for developmentally disabled teenagers with behavior problems.” I didn’t know exactly what that meant. But it went on to read: “Some meal preparation required; counselor is able to sleep during shift.”
At the time it seemed that it might suit me, the sleeping part in particular.
I went to visit Grandma and Ralph for a week right after having learned how to whistle. I whistled at all times, with dedication and complete concentration. When I was asked a question I whistled the answer, I whistled along with people as they talked, I whistled the answer while I worked, I whistled while I played. Eventually they made a rule that whistling was forbidden in their house.
We will rebuild our city, yes—we will, we will build a new city in the image of our old city, a city that will withstand whatever nature sends against it, a city that will rise up into the sky, our mayor said, pointing, his arm trembling, a city raised up into the clouds, a cloud city, a city of the air currents, of the jet streams, of warm fronts and cold fronts, a city that will harness the power of the weather and put it to good use, only good, constructive use.
A Child is Like a Clarinet
for Eliza Harris and Henri Akoka
Similes are dangerous.
To equate a person to
an object, an instrument
no less, is a risk.
A child is like a clarinet.
A mother is like a clarinetist.
Personhood posits
promising possibilities.
Poems are willing to die.
Poems dare, just as Eliza
Harris leaped onto pieces
of ice to cross the frozen
Ohio River with her baby
in her hands. Poems flee,
just as Henri Akoka
jumped onto the top of
a moving train with his
clarinet under his arm.
One of these things
is not like the other.
Can’t you tell? Mouthpiece
from lips, flesh from wood.
His music swims in the room’s colors,
Not making the décor any prettier,
In its war of blood and tar;
His bleak tone blare into blackness
Of hard luck and lights.
Easier to sit in the front row
With your feet propped on stage
Than to play in a room where
Notes are harder to hold than a cheating lover.
As everyone heckles advice,
Somebody tells a fable about
Dignity and the failed attempt.
Like the liftoff of an airliner, the stamping of auto body parts requires inhuman force, producing decibels registered by your internal organs. The presses sound, unmistakably, as if they could kill you, which they could, without much interrupting their normal functioning. You’d notice the collision more than they would.
My job here is a strange one. The description I found in the classifieds read: “Overnight counselor-in-residence for developmentally disabled teenagers with behavior problems.” I didn’t know exactly what that meant. But it went on to read: “Some meal preparation required; counselor is able to sleep during shift.”
At the time it seemed that it might suit me, the sleeping part in particular.