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.
Able God walked in slowly, dazed, then he stepped outside and turned to look at his neighbors, who were sitting in the narrow alley. He scanned their faces for answers, but they turned away, shifted on their low stools, and one after another, went into their rooms.
Inside, Able God paced the house, frustration coiling around his head. Had he had any doubt that the police were aware of his involvement, what he saw erased it. He looked out through the louvered window. He blundered his way manically through the chaos, tossing things aside. He pulled up the mattress, rifled through his clothes, heaped one on the other.
He noticed they had not taken his hidden wrap of marijuana, but his chess pieces were spilled all over the ground. He tried to gather them into a plastic bag, but his whole body trembled now, his eyes smarting with tears. The chess set was not meant to be scattered; the pieces were meant to be neatly arranged. How had the police known where he lived? Maybe Akudo had been arrested, but if so, why was the madam protecting her whereabouts?
If anything is endangered in America it is our experience of wild nature—gross contact. There is knowledge only the wild can give us, knowledge specific to the experience of it. These are its gifts to us. In this, wilderness is no different from music, painting, poetry, or love: you concede the abundance and try to respond with grace.
She walks all the time in the Heart Ward.
She makes no sound. She is always alone.
If she is looking in the toilet stall and you come in
she leaves. She calls you Dear.
I was thinking of giving her my flowers.
Just now she came over and said,
‘You don’t have to be writing all the time Dear.’
I said, ‘Do you have any flowers?’
She said, ‘No Dear.’
I said, ‘Do you want any flowers?’
She said, ‘No, no flowers, Dear.’
I said, ‘Don’t you want any flowers at all?’
‘No,’ she said, ‘it’s too late for flowers Dear.’
MOSES
yo ass gon rise up to yo full potential too
gon git up off dis block
man
you remember
dat sunday school
ol reverend Missus be like
(as reverend missus)
sed uh
do you wanna cross dat river now chillun
sed uh
do you wanna cross dat river now chillum
KITCH
(gasping)
pass ovuh
MOSES
yeah nigga damn
i feel like we cud do dis shit
you feel me
git up off dis block
KITCH
amen!
MOSES
be all we cud be
KITCH
yes lawd!
I thought, I bet the daughter’s glad she’s dead, because what her mother was doing, throwing herself into the grave on top of the box like that, looked funny. It looked funny because her mother was fat, and it looked so much like the mother was doing the Fat Man Dance, because her arms were spread out too, as if she were waiting for her daughter to spread out her arms also, and then they could hold hands and smack bellies together and dance in circles on the box just the way we always did in the summer when we did the Fat Man Dance. Because we always did the Fat Man Dance in the summer when we ran around with no clothes on and danced a lot because it was summer.
What you type and submit appears to you attributed to You. What he replies and enters comes from Partner. There is, as it turns out, a lot to say while watching Partner look at you watching. He is, to begin with, in a room of some kind, particular, contingent, “real.” With art and clocks and books and pillows and cigarettes and mail and daylight, or lamplight, with a bed or desk or basement sofa, with doors you can ask him to open, bags he may or may not empty, of content you may deduce about. The bottoms of his socks are dirty. You give it to him that his socks are dirty, that his door is ajar, that his grin is telling. “Partner: Are you for real?”
Able God walked in slowly, dazed, then he stepped outside and turned to look at his neighbors, who were sitting in the narrow alley. He scanned their faces for answers, but they turned away, shifted on their low stools, and one after another, went into their rooms.
Inside, Able God paced the house, frustration coiling around his head. Had he had any doubt that the police were aware of his involvement, what he saw erased it. He looked out through the louvered window. He blundered his way manically through the chaos, tossing things aside. He pulled up the mattress, rifled through his clothes, heaped one on the other.
He noticed they had not taken his hidden wrap of marijuana, but his chess pieces were spilled all over the ground. He tried to gather them into a plastic bag, but his whole body trembled now, his eyes smarting with tears. The chess set was not meant to be scattered; the pieces were meant to be neatly arranged. How had the police known where he lived? Maybe Akudo had been arrested, but if so, why was the madam protecting her whereabouts?
If anything is endangered in America it is our experience of wild nature—gross contact. There is knowledge only the wild can give us, knowledge specific to the experience of it. These are its gifts to us. In this, wilderness is no different from music, painting, poetry, or love: you concede the abundance and try to respond with grace.
She walks all the time in the Heart Ward.
She makes no sound. She is always alone.
If she is looking in the toilet stall and you come in
she leaves. She calls you Dear.
I was thinking of giving her my flowers.
Just now she came over and said,
‘You don’t have to be writing all the time Dear.’
I said, ‘Do you have any flowers?’
She said, ‘No Dear.’
I said, ‘Do you want any flowers?’
She said, ‘No, no flowers, Dear.’
I said, ‘Don’t you want any flowers at all?’
‘No,’ she said, ‘it’s too late for flowers Dear.’
MOSES
yo ass gon rise up to yo full potential too
gon git up off dis block
man
you remember
dat sunday school
ol reverend Missus be like
(as reverend missus)
sed uh
do you wanna cross dat river now chillun
sed uh
do you wanna cross dat river now chillum
KITCH
(gasping)
pass ovuh
MOSES
yeah nigga damn
i feel like we cud do dis shit
you feel me
git up off dis block
KITCH
amen!
MOSES
be all we cud be
KITCH
yes lawd!
I thought, I bet the daughter’s glad she’s dead, because what her mother was doing, throwing herself into the grave on top of the box like that, looked funny. It looked funny because her mother was fat, and it looked so much like the mother was doing the Fat Man Dance, because her arms were spread out too, as if she were waiting for her daughter to spread out her arms also, and then they could hold hands and smack bellies together and dance in circles on the box just the way we always did in the summer when we did the Fat Man Dance. Because we always did the Fat Man Dance in the summer when we ran around with no clothes on and danced a lot because it was summer.
What you type and submit appears to you attributed to You. What he replies and enters comes from Partner. There is, as it turns out, a lot to say while watching Partner look at you watching. He is, to begin with, in a room of some kind, particular, contingent, “real.” With art and clocks and books and pillows and cigarettes and mail and daylight, or lamplight, with a bed or desk or basement sofa, with doors you can ask him to open, bags he may or may not empty, of content you may deduce about. The bottoms of his socks are dirty. You give it to him that his socks are dirty, that his door is ajar, that his grin is telling. “Partner: Are you for real?”