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 know snow as soap opera, the comedy
of white heap shovelled into strophe
and anti-strophe for long blocks – snow
as envy, a shaken blanket making a lasting
echo over clean avenues.
I’m good enough to get the once-over in the bar at The Restaurant, I see them thinking my
smallness is appealing, my ass and face are cute enough, I see them thinking that short haircut
might be sexy. I’m always in a backless cocktail dress and heels, I’m flat chested and a tad
muscular so they ask me if I’m a dancer and say Call me sometime, let’s have a drink. It took
me a while to understand you’re supposed to work that for your money but you can let the
willingness fall right off your face when you turn around. It took me a while to understand that of
course men fling their entreaties out in swarms, like schools of sperm, hoping one will stick.
Adrian Piper took photos of her naked body while reading The Critique of Pure Reason to make sure her body was still there. I don’t want to talk about “the black body.” Where is such a thing? I am not inside of anything. I want the monad. I want integration, but not the kind that requires “white” and “black” to participate. Integration as the move from a dualist Cartesian world to the monist’s world, so that transcendence is a misnomer—there being nothing to get beyond, to get above or around. In this single world-substance, everywhere is home; everything is forever; and everyone is inalienable.
I couldn’t move. The ground was tiny, an aerial map, rich in detail, and the wind tugged at my feet. What were the commands? Arch, I whispered. Arch arch arch. That was all I could remember. I stood up, gripping the side of the opening, my feet balanced on the metal bar beneath the doorway, resisting the steady rush of wind. The jumpmaster shouted again. I felt the pressure of his fingers. And then I was gone. I left the plane behind me and fell into the air.
I did not know one person in Montana. I sat in the house and tried to write a novel about high school; I went for walks, drank quarts of Coors beer, listened to the radio. At night, a neighbor’s horse shifted his weight from hoof to hoof out in the trees, and sometimes cropped grass so near I could hear him chew. The first snowstorm blew in from the north, and crows crossed the sky before it like thrown black socks. For years in New York I had dreamed of Montana. Actually, I had also dreamed of joining the Army, going to truck-driving school in New Jersey, building a wooden sailboat, playing the great golf courses of the world, and moving to Fiji. I had examined all those ideas and then rejected them. Montana made the most sense to me.
Today, it is no longer cheaper to make your own clothes than to buy them. A task that once fell within the province of the ordinary household is now an esoteric hobby, requiring skills out of reach to most ordinary Americans. It can even be cost prohibitive, since to buy the cloth to make a shirt will often cost more than the price of a new shirt. A curious reversal.
Ralph Tharpe, the former design engineer at Cone Mills in North Carolina, and the man responsible for making denim for Levi’s 501s during the 1970s, put the question to me this way: “Why is it that from 1960 to today the price of a Ford truck has increased ten times over and the price of a pair of dungarees has stayed the same?” This question becomes even more puzzling when one considers that many mass-manufacturing processes have been automated since the 1960s but sewing is not one of them. The process one follows to sew a garment has not changed materially since the advent of the sewing machine. Fabric is a fussy and unpredictable material, unlike sheet metal, that still requires the subtle manipulation of tension that can only be done by a real human hand.
How then, did this happen?
I know snow as soap opera, the comedy
of white heap shovelled into strophe
and anti-strophe for long blocks – snow
as envy, a shaken blanket making a lasting
echo over clean avenues.
I’m good enough to get the once-over in the bar at The Restaurant, I see them thinking my
smallness is appealing, my ass and face are cute enough, I see them thinking that short haircut
might be sexy. I’m always in a backless cocktail dress and heels, I’m flat chested and a tad
muscular so they ask me if I’m a dancer and say Call me sometime, let’s have a drink. It took
me a while to understand you’re supposed to work that for your money but you can let the
willingness fall right off your face when you turn around. It took me a while to understand that of
course men fling their entreaties out in swarms, like schools of sperm, hoping one will stick.
Adrian Piper took photos of her naked body while reading The Critique of Pure Reason to make sure her body was still there. I don’t want to talk about “the black body.” Where is such a thing? I am not inside of anything. I want the monad. I want integration, but not the kind that requires “white” and “black” to participate. Integration as the move from a dualist Cartesian world to the monist’s world, so that transcendence is a misnomer—there being nothing to get beyond, to get above or around. In this single world-substance, everywhere is home; everything is forever; and everyone is inalienable.
I couldn’t move. The ground was tiny, an aerial map, rich in detail, and the wind tugged at my feet. What were the commands? Arch, I whispered. Arch arch arch. That was all I could remember. I stood up, gripping the side of the opening, my feet balanced on the metal bar beneath the doorway, resisting the steady rush of wind. The jumpmaster shouted again. I felt the pressure of his fingers. And then I was gone. I left the plane behind me and fell into the air.
I did not know one person in Montana. I sat in the house and tried to write a novel about high school; I went for walks, drank quarts of Coors beer, listened to the radio. At night, a neighbor’s horse shifted his weight from hoof to hoof out in the trees, and sometimes cropped grass so near I could hear him chew. The first snowstorm blew in from the north, and crows crossed the sky before it like thrown black socks. For years in New York I had dreamed of Montana. Actually, I had also dreamed of joining the Army, going to truck-driving school in New Jersey, building a wooden sailboat, playing the great golf courses of the world, and moving to Fiji. I had examined all those ideas and then rejected them. Montana made the most sense to me.
Today, it is no longer cheaper to make your own clothes than to buy them. A task that once fell within the province of the ordinary household is now an esoteric hobby, requiring skills out of reach to most ordinary Americans. It can even be cost prohibitive, since to buy the cloth to make a shirt will often cost more than the price of a new shirt. A curious reversal.
Ralph Tharpe, the former design engineer at Cone Mills in North Carolina, and the man responsible for making denim for Levi’s 501s during the 1970s, put the question to me this way: “Why is it that from 1960 to today the price of a Ford truck has increased ten times over and the price of a pair of dungarees has stayed the same?” This question becomes even more puzzling when one considers that many mass-manufacturing processes have been automated since the 1960s but sewing is not one of them. The process one follows to sew a garment has not changed materially since the advent of the sewing machine. Fabric is a fussy and unpredictable material, unlike sheet metal, that still requires the subtle manipulation of tension that can only be done by a real human hand.
How then, did this happen?