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.
…after dozens of visits, I stopped buying the paintings. Scenes of bright peasant life, or lovely little children in uniforms filing into school, pictures of grand bourgeois families dancing in a hall beneath towering hi-fi speakers, or of shocking voodoo ceremonies in blacks and reds with decapitated chickens flapping in blood and women writhing, panoramas of bustling, abundant markets, paintings of primeval forests, with lions, giraffes, panthers and other animals no Haitian has ever seen at home, where the wildest animal is the crocodile or the flamingo, or the tarantula. It’s hard to keep looking at those paintings, but these Haitian artists paint them over and over again, as though they can’t get this nightmare out of their system. For months, a vendor tried to sell me this one painting, of a church interior, because I made the mistake of looking at it. He started at thirty dollars, laughably high but negotiable. Still, for a long time I couldn’t bring myself to buy it, no matter how badly the stooped and stuttering art dealer wanted to get rid of it, no matter how low he would go. I had promised myself no more paintings.
To live in the city of El Paso in those days was to hover at the edge of crushing and proximate cruelty, to safely fill the lungs with air steeped in horror. In news, in academic texts, in literature and art, El Paso’s twin city of Juárez was perpetually being presented as a place of murder and violence, a landscape of factories, maquiladoras, drug cartels, narcos, hit men, sicarios, delinquents, military, police, poverty, femicide, rape, kidnapping, disappearance, homicide, slaughter, massacre, shootings, gun fights, turf wars, mass graves, garbage dumps, impunity, corruption, decay, erosion, a hemispheric laboratory of social and economic horror. This representation—the narrative of a city irreparably fractured by its looming border, saddled with broken institutions and a terrorized populace—had become part and parcel of its legacy, the subconscious inheritance of all those who came into the city’s orbit.
From THE LINE BECOMES A RIVER by Francisco Cantu, to be published on February 6, 2018 by Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright (c) 2018 by Francisco Cantu.
Prendergast painted the Public Garden;
remembered, even at a little distance,
the city takes on his ravishing tones.
Jots of color resolve: massed parasols
above a glimmering pond, the transit
of almost translucent swans. Brilliant bits
- jewels? slices of sugared fruit? – bloom
into a clutch of skirts on the bridge
above the summer boaters. His city’s essence:
all the hues of chintzes or makeup
or Italian ices, all the sheen artifice
is capable of. Our city’s lavish paintbox.
To be inside a body that’s going to go
is not so bad. A train rushes out of a station
and by the time it’s gone around the bend
that town is a tiny abandoned World of Tomorrow.
Passengers looking out of the train
see the windows of warehouses are the slow in a penny arcade
and they tell time by the clock face of every house.
Steel springs coil inside the trees.
Then the train will pull them down the tracks
they can’t invent fast enough for their need to survive.
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…
I
What a lucky beast I am,
when he cleans up nice
and nicks his perfect face.
I get to lick that face,
when he lets me.
In the cut’s opening
I get a taste of him
from the inside
out, which is all I have
ever wanted,
to be cell-close
to him. Praise the razor’s
overzealous arm;
the ease
with which it finds tenderness
in this man.
…after dozens of visits, I stopped buying the paintings. Scenes of bright peasant life, or lovely little children in uniforms filing into school, pictures of grand bourgeois families dancing in a hall beneath towering hi-fi speakers, or of shocking voodoo ceremonies in blacks and reds with decapitated chickens flapping in blood and women writhing, panoramas of bustling, abundant markets, paintings of primeval forests, with lions, giraffes, panthers and other animals no Haitian has ever seen at home, where the wildest animal is the crocodile or the flamingo, or the tarantula. It’s hard to keep looking at those paintings, but these Haitian artists paint them over and over again, as though they can’t get this nightmare out of their system. For months, a vendor tried to sell me this one painting, of a church interior, because I made the mistake of looking at it. He started at thirty dollars, laughably high but negotiable. Still, for a long time I couldn’t bring myself to buy it, no matter how badly the stooped and stuttering art dealer wanted to get rid of it, no matter how low he would go. I had promised myself no more paintings.
To live in the city of El Paso in those days was to hover at the edge of crushing and proximate cruelty, to safely fill the lungs with air steeped in horror. In news, in academic texts, in literature and art, El Paso’s twin city of Juárez was perpetually being presented as a place of murder and violence, a landscape of factories, maquiladoras, drug cartels, narcos, hit men, sicarios, delinquents, military, police, poverty, femicide, rape, kidnapping, disappearance, homicide, slaughter, massacre, shootings, gun fights, turf wars, mass graves, garbage dumps, impunity, corruption, decay, erosion, a hemispheric laboratory of social and economic horror. This representation—the narrative of a city irreparably fractured by its looming border, saddled with broken institutions and a terrorized populace—had become part and parcel of its legacy, the subconscious inheritance of all those who came into the city’s orbit.
From THE LINE BECOMES A RIVER by Francisco Cantu, to be published on February 6, 2018 by Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright (c) 2018 by Francisco Cantu.
Prendergast painted the Public Garden;
remembered, even at a little distance,
the city takes on his ravishing tones.
Jots of color resolve: massed parasols
above a glimmering pond, the transit
of almost translucent swans. Brilliant bits
- jewels? slices of sugared fruit? – bloom
into a clutch of skirts on the bridge
above the summer boaters. His city’s essence:
all the hues of chintzes or makeup
or Italian ices, all the sheen artifice
is capable of. Our city’s lavish paintbox.
To be inside a body that’s going to go
is not so bad. A train rushes out of a station
and by the time it’s gone around the bend
that town is a tiny abandoned World of Tomorrow.
Passengers looking out of the train
see the windows of warehouses are the slow in a penny arcade
and they tell time by the clock face of every house.
Steel springs coil inside the trees.
Then the train will pull them down the tracks
they can’t invent fast enough for their need to survive.
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…
I
What a lucky beast I am,
when he cleans up nice
and nicks his perfect face.
I get to lick that face,
when he lets me.
In the cut’s opening
I get a taste of him
from the inside
out, which is all I have
ever wanted,
to be cell-close
to him. Praise the razor’s
overzealous arm;
the ease
with which it finds tenderness
in this man.