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 dining room was empty. There were dragons – dragon ashtrays, dragon statues, dragons carved into posts. In a remarkably misguided attempt at décor, there was also a profusion of mirrors. The result was upsetting.
The intimate places of his father’s body were now within his reach, turned over to the touch of his fingers: his father who had never embraced him as a child. First he would touch his earlobes, to move them out of the way for the scissors, which had been taken out of the mother-of-pearl damascene box. Then he would take the nose between his thumb and forefinger, and give it a slight lift so as to shave above the upper lip. And the more the cancer gnawed away at the liver and the body grew limp, the more it opened to him, replete with its disappointments, sated with its tribulations. They would sit together in silence, the father and he, the youngest of his sons.
The snow was blackened by automobile exhaust and the corpse, while alive, had been known as Opposable Thumb. As the stout man knelt and mumbled a prayer the small boy looked on. (I vaguely recalled having watched Opposable Thumb’s burial on television, so it struck me as odd that the body could be there in this other place.) The stout man stood up, leaning over the corpse and speaking words which, again, I couldn’t make out. I could, however, see that the corpse’s head was made of plastic, somewhat like a doll’s…
“You see my grandson over there.” Justin’s father humps his chin in Graham’s direction without taking his eyes off Seth. “You don’t want him to see what the inside of your skull looks like, do you?”
“You’d never do that,” Seth says. “I could walk right up to that rifle and stick my finger in it and you’d never do a thing.”
“Come on and try.”
“You’re so full of it.”
Then his father swings the barrel left and fires. The crack of the gunshot is followed by the chime of glass shattering, falling from the red pickup, its left headlight destroyed.
For a moment Seth stares at his truck. “You’ll fucking pay for that,” he says.
Because there were no available roles for a woman who drove men wild and enjoyed them in bed by the dozen and gave as good as she got and didn’t want to marry and never suffered for any of it, Mae West had to become a writer before she could be a movie star. She began her literary career with a sketch for a vaudeville act in 1913, when she was twenty and her fame still rested largely on her ability to perform a well-advertised “muscle dance in a sitting position.” By the time her first successful theatrical opus, entitled Sex, got her arrested in New York, in 1927, she’d been honing her playwriting skill alongside her nonpareil shimmy and cooch for over a decade.
The dining room was empty. There were dragons – dragon ashtrays, dragon statues, dragons carved into posts. In a remarkably misguided attempt at décor, there was also a profusion of mirrors. The result was upsetting.
The intimate places of his father’s body were now within his reach, turned over to the touch of his fingers: his father who had never embraced him as a child. First he would touch his earlobes, to move them out of the way for the scissors, which had been taken out of the mother-of-pearl damascene box. Then he would take the nose between his thumb and forefinger, and give it a slight lift so as to shave above the upper lip. And the more the cancer gnawed away at the liver and the body grew limp, the more it opened to him, replete with its disappointments, sated with its tribulations. They would sit together in silence, the father and he, the youngest of his sons.
The snow was blackened by automobile exhaust and the corpse, while alive, had been known as Opposable Thumb. As the stout man knelt and mumbled a prayer the small boy looked on. (I vaguely recalled having watched Opposable Thumb’s burial on television, so it struck me as odd that the body could be there in this other place.) The stout man stood up, leaning over the corpse and speaking words which, again, I couldn’t make out. I could, however, see that the corpse’s head was made of plastic, somewhat like a doll’s…
“You see my grandson over there.” Justin’s father humps his chin in Graham’s direction without taking his eyes off Seth. “You don’t want him to see what the inside of your skull looks like, do you?”
“You’d never do that,” Seth says. “I could walk right up to that rifle and stick my finger in it and you’d never do a thing.”
“Come on and try.”
“You’re so full of it.”
Then his father swings the barrel left and fires. The crack of the gunshot is followed by the chime of glass shattering, falling from the red pickup, its left headlight destroyed.
For a moment Seth stares at his truck. “You’ll fucking pay for that,” he says.
Because there were no available roles for a woman who drove men wild and enjoyed them in bed by the dozen and gave as good as she got and didn’t want to marry and never suffered for any of it, Mae West had to become a writer before she could be a movie star. She began her literary career with a sketch for a vaudeville act in 1913, when she was twenty and her fame still rested largely on her ability to perform a well-advertised “muscle dance in a sitting position.” By the time her first successful theatrical opus, entitled Sex, got her arrested in New York, in 1927, she’d been honing her playwriting skill alongside her nonpareil shimmy and cooch for over a decade.