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.
The following day, Pablo set the beetle loose, out of “pity,” he told me. (I believe that he was in Mr. White’s employ.) This had terrible consequences for us and our secret files, for that very night the bugs came rolling out of the jungle in a horrible unstoppable scuttling attack and seized me and carried me off down dim dizzy depths and under mountains and along the bottoms of warm shallow seas like my zombies with only a hollow reed in my mouth to keep air passages in working trim, and through sticky ferns and egg caches and incubators and subterranean cockroach classrooms of strategy and along abandoned mine shafts and eaten-away tunnels in hollowed-out documents in unused stacks in an obscure wing of a forgotten branch of a sealed-off area of the very Library of Congress…
When the future spoke—as it did every day now—it spoke through jukeboxes. In the paradise of affluence Dionne Warwick was always signing a Burt Bacharach song, as a Greek island came into view at starboard. The stars—movie actresses, pop singers, grizzled dissipated novelists, intellectual fashion designers—got hilariously drunk in ship’s bars, alternately fell half-naked down casino steps or announced their intention of filming the work of Genet or Ouspensky. The planet was their plaything. Having the power of free movement to and from anywhere, they jetted between Corfu and Bhutan and Seychelles, colliding briefly with one another to invent new psychic spaces, to share the new fun of the incandescent future.
When the ferry berthed at Picton, the American was to purchase two one-way tickets back to Wellington; one under Healey’s name and one under his own real name; he was at present travelling under a false name. He would pass over both these tickets to Healey and then disappear for good. Healey would deposit the American’s ticket in a rubbish bin on board. Then at a certain point in the voyage, when it was dark and they were towards the middle of the Strait—this was important, the American had told him, because of the currents which might easily drag a body far out to sea—Healey was to raise the alarm that he had just seen a man jump overboard.
The ferry would most likely be stopped and Healey would have to take a role in looking for the missing man. He would have to be ready to indicate how the figure fell and from where exactly, what he was wearing, what he looked like, and in none of these details should he be too precise. It was dark. No one else was on this part of the deck when it happened and Healey himself was on an upper deck and saw it more or less out of the corner of his eye. No, the man did not shout or make any noise as he jumped.
I stood there perfectly still, just as I had sat for countless medical photographs: full face, turn to the left, the right, now a three-quarter shot to the left. I took a certain pride in knowing the routine so well. I’ve even seen some of these medical photographs in publications. Curiously, those sterile, bright photos are easy for me to look at. For one thing, I know that only doctors look at them, and perhaps I’m even slightly proud that I’m such an interesting case, worthy of documentation. Or maybe I do not really think it is me sitting there, Case 3, figure 6-A.
A grotesquely fat woman lives in the farthest corner of the village. Her name is Matilde. When she walks to market, she must gather up her fat just as another woman gathers up her skirts, daintily pinching it between her fingers and hooking it over her wrists. Matilde’s fat moves about her gracefully, sighing and rustling with her every gesture. She walks as if enveloped by a dense storm cloud, from which the real, sylph-like Matilde is waiting to emerge, blinding as a sunbeam.
Whatever group of friends I told, what always fascinated people was not the boy’s dying but this image, this juxtaposition of school and cemetery, side by side, and a hill cutting them off from the ward. It was as if they thought that, away from our parents, we kids fraternized with the dead. There would often be one person who thought that I was embellishing, that I was making up these details for the benefit of a story, to create some sort of meaning. That skeptic seemed to assume that the hill—which I now knew to be just a hillock—the school, the cemetery were symbolic of something that I had overcome, something I had escaped. But the Botalaote cemetery was separated from Motalaote Lekhutile Primary School by only a narrow dirt road, and behind them the hillock cut them off from Botalaote Ward. Those were the facts.
The following day, Pablo set the beetle loose, out of “pity,” he told me. (I believe that he was in Mr. White’s employ.) This had terrible consequences for us and our secret files, for that very night the bugs came rolling out of the jungle in a horrible unstoppable scuttling attack and seized me and carried me off down dim dizzy depths and under mountains and along the bottoms of warm shallow seas like my zombies with only a hollow reed in my mouth to keep air passages in working trim, and through sticky ferns and egg caches and incubators and subterranean cockroach classrooms of strategy and along abandoned mine shafts and eaten-away tunnels in hollowed-out documents in unused stacks in an obscure wing of a forgotten branch of a sealed-off area of the very Library of Congress…
When the future spoke—as it did every day now—it spoke through jukeboxes. In the paradise of affluence Dionne Warwick was always signing a Burt Bacharach song, as a Greek island came into view at starboard. The stars—movie actresses, pop singers, grizzled dissipated novelists, intellectual fashion designers—got hilariously drunk in ship’s bars, alternately fell half-naked down casino steps or announced their intention of filming the work of Genet or Ouspensky. The planet was their plaything. Having the power of free movement to and from anywhere, they jetted between Corfu and Bhutan and Seychelles, colliding briefly with one another to invent new psychic spaces, to share the new fun of the incandescent future.
When the ferry berthed at Picton, the American was to purchase two one-way tickets back to Wellington; one under Healey’s name and one under his own real name; he was at present travelling under a false name. He would pass over both these tickets to Healey and then disappear for good. Healey would deposit the American’s ticket in a rubbish bin on board. Then at a certain point in the voyage, when it was dark and they were towards the middle of the Strait—this was important, the American had told him, because of the currents which might easily drag a body far out to sea—Healey was to raise the alarm that he had just seen a man jump overboard.
The ferry would most likely be stopped and Healey would have to take a role in looking for the missing man. He would have to be ready to indicate how the figure fell and from where exactly, what he was wearing, what he looked like, and in none of these details should he be too precise. It was dark. No one else was on this part of the deck when it happened and Healey himself was on an upper deck and saw it more or less out of the corner of his eye. No, the man did not shout or make any noise as he jumped.
I stood there perfectly still, just as I had sat for countless medical photographs: full face, turn to the left, the right, now a three-quarter shot to the left. I took a certain pride in knowing the routine so well. I’ve even seen some of these medical photographs in publications. Curiously, those sterile, bright photos are easy for me to look at. For one thing, I know that only doctors look at them, and perhaps I’m even slightly proud that I’m such an interesting case, worthy of documentation. Or maybe I do not really think it is me sitting there, Case 3, figure 6-A.
A grotesquely fat woman lives in the farthest corner of the village. Her name is Matilde. When she walks to market, she must gather up her fat just as another woman gathers up her skirts, daintily pinching it between her fingers and hooking it over her wrists. Matilde’s fat moves about her gracefully, sighing and rustling with her every gesture. She walks as if enveloped by a dense storm cloud, from which the real, sylph-like Matilde is waiting to emerge, blinding as a sunbeam.
Whatever group of friends I told, what always fascinated people was not the boy’s dying but this image, this juxtaposition of school and cemetery, side by side, and a hill cutting them off from the ward. It was as if they thought that, away from our parents, we kids fraternized with the dead. There would often be one person who thought that I was embellishing, that I was making up these details for the benefit of a story, to create some sort of meaning. That skeptic seemed to assume that the hill—which I now knew to be just a hillock—the school, the cemetery were symbolic of something that I had overcome, something I had escaped. But the Botalaote cemetery was separated from Motalaote Lekhutile Primary School by only a narrow dirt road, and behind them the hillock cut them off from Botalaote Ward. Those were the facts.