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.
Fear the opera expert, he who knows everything, who puts your humble tastes to shame, who will criticize your recording of Turandot or even your affection for that vulgar opera, the opera queen who only like Monteverdi, the opera queen who doesn’t go to the Met anymore, the opera queen who can’t stand Sutherland, the opera queen who gave me his 1953 Callas Cetra Traviata because he said her voice was fingernails against a chalkboard, the opera queen who disagrees with the maestro’s tempi, the opera queen who hates Wagner or loves only Wagner, the opera queen who doesn’t recognize himself in this description, the opera queen who thinks homosexuality has nothing to do with opera, the opera queen who never has body odor but then, suddenly, unexpectedly, stinks, the opera queen who doesn’t come out to his mother because he says it will hurt her, the opera queen who loves the local production of Barbiere and the opera queen who makes fun of it, the opera queen who isn’t gay but seems gay because he has learned from opera queens how to be a connoisseur: the opera queen whose intense, phobic knowledge is a bludgeon.
so mama said no running, afraid
for me: shriveled lansones, sickly.
threat of skinned shins. cherry
glow of lola’s clove cigarettes,
smoke plumes sealing my throat.
or on my cheeks, plum rashes
blooming from playing in witchwillow.
these days, I don’t run much.
but I was only seven when I broke
a girl’s front teeth.
At my desk, with my pen, pencil, markers, ruler, and thick white paper, I was in command. And when I drew the superhero who was my alter-ego, I gave him —i.e., myself—what in all my shyness I didn’t have: a girlfriend. She was as pretty as my limited skills could make her. Her name was Laura.
Once, I read a story—or maybe I imagined a
story—of two children ages eight and twelve
discovering the dead body of the grandmother
who was taking care of them. The older child,
a girl, took responsibility then. Feeding her
younger brother, covering the body, keeping
life going, until the smell got too much, and
they asked a neighbor for help. They were, of
course, rescued. But I often wonder what they
were rescued from. It is good, of course, if
they were brought into a place of safety,
steady reliable meals, home, and hopefully
love and care. But somewhere in me the feeling
of hurtling alone is itself the feeling of
home, a human truth the size of the universe,
the size of my mother and me in a motel with
no future to be certain of. I would never want
that for myself or for my children. I would
never want that for anyone. And yet sometimes,
I want it for myself.
Excerpts from ANOTHER WORD FOR LOVE: A MEMOIR by Carvell Wallace. Copyright © 2024 by Carvell Wallace. Reprinted by permission of Farrar, Straus and Giroux. All Rights Reserved.
Some of the subjects covered during Gamal’s hour of talk: the great friendship they will have; the difficulty Gamal has accepting Ib’s name—he prefers to call him Ibrahim; the movies of Kaleemt Ishtwud; the language of Arabic, which Gamal will make Ib speak like one good Arab Man, which Gamal says is the language everyone in the world knows; felucca rides on the Nile; the English language, the greatest language on earth, which Ib will teach Gamal to speak like on good English Man; this great beauty the singer Paula Abdul, but what is she a servant of (abdul means “servant of”) and how can we make her visit our house which we will build together near the Pyramids; the Pyramids, which Gamal feels one moment are the great monuments of the world we know, the next moment, garbage heaps, where bad people sell bad things that do not make Egypt look good; the right of a man to marry a woman for a few weeks, a very necessary right, men are much stronger and fairer this way, men grow beards more quickly, men walk in straight lines.
I realize then that Wichu knows. Of course he knows. He was here, at this temple, outside of the pavilion with his mother, when Khamron got drafted years ago. He was here when the wealthier boys got taken out of the line. He was here when those same boys came back an hour later, took their places at the end of the lottery line, and—when their turns came—drew black card after black card after black card. Wichu had told me all about it the night of his brother’s draft. Although I had only half listened to him at the time, the memory of his voice comes back to me now in all its anger.
“Draft Day” from SIGHTSEEING © 2005 by Rattawaut Lapcharoensap; reprinted with the permission of the publisher, Grove Atlantic, Inc.
Fear the opera expert, he who knows everything, who puts your humble tastes to shame, who will criticize your recording of Turandot or even your affection for that vulgar opera, the opera queen who only like Monteverdi, the opera queen who doesn’t go to the Met anymore, the opera queen who can’t stand Sutherland, the opera queen who gave me his 1953 Callas Cetra Traviata because he said her voice was fingernails against a chalkboard, the opera queen who disagrees with the maestro’s tempi, the opera queen who hates Wagner or loves only Wagner, the opera queen who doesn’t recognize himself in this description, the opera queen who thinks homosexuality has nothing to do with opera, the opera queen who never has body odor but then, suddenly, unexpectedly, stinks, the opera queen who doesn’t come out to his mother because he says it will hurt her, the opera queen who loves the local production of Barbiere and the opera queen who makes fun of it, the opera queen who isn’t gay but seems gay because he has learned from opera queens how to be a connoisseur: the opera queen whose intense, phobic knowledge is a bludgeon.
so mama said no running, afraid
for me: shriveled lansones, sickly.
threat of skinned shins. cherry
glow of lola’s clove cigarettes,
smoke plumes sealing my throat.
or on my cheeks, plum rashes
blooming from playing in witchwillow.
these days, I don’t run much.
but I was only seven when I broke
a girl’s front teeth.
At my desk, with my pen, pencil, markers, ruler, and thick white paper, I was in command. And when I drew the superhero who was my alter-ego, I gave him —i.e., myself—what in all my shyness I didn’t have: a girlfriend. She was as pretty as my limited skills could make her. Her name was Laura.
Once, I read a story—or maybe I imagined a
story—of two children ages eight and twelve
discovering the dead body of the grandmother
who was taking care of them. The older child,
a girl, took responsibility then. Feeding her
younger brother, covering the body, keeping
life going, until the smell got too much, and
they asked a neighbor for help. They were, of
course, rescued. But I often wonder what they
were rescued from. It is good, of course, if
they were brought into a place of safety,
steady reliable meals, home, and hopefully
love and care. But somewhere in me the feeling
of hurtling alone is itself the feeling of
home, a human truth the size of the universe,
the size of my mother and me in a motel with
no future to be certain of. I would never want
that for myself or for my children. I would
never want that for anyone. And yet sometimes,
I want it for myself.
Excerpts from ANOTHER WORD FOR LOVE: A MEMOIR by Carvell Wallace. Copyright © 2024 by Carvell Wallace. Reprinted by permission of Farrar, Straus and Giroux. All Rights Reserved.
Some of the subjects covered during Gamal’s hour of talk: the great friendship they will have; the difficulty Gamal has accepting Ib’s name—he prefers to call him Ibrahim; the movies of Kaleemt Ishtwud; the language of Arabic, which Gamal will make Ib speak like one good Arab Man, which Gamal says is the language everyone in the world knows; felucca rides on the Nile; the English language, the greatest language on earth, which Ib will teach Gamal to speak like on good English Man; this great beauty the singer Paula Abdul, but what is she a servant of (abdul means “servant of”) and how can we make her visit our house which we will build together near the Pyramids; the Pyramids, which Gamal feels one moment are the great monuments of the world we know, the next moment, garbage heaps, where bad people sell bad things that do not make Egypt look good; the right of a man to marry a woman for a few weeks, a very necessary right, men are much stronger and fairer this way, men grow beards more quickly, men walk in straight lines.
I realize then that Wichu knows. Of course he knows. He was here, at this temple, outside of the pavilion with his mother, when Khamron got drafted years ago. He was here when the wealthier boys got taken out of the line. He was here when those same boys came back an hour later, took their places at the end of the lottery line, and—when their turns came—drew black card after black card after black card. Wichu had told me all about it the night of his brother’s draft. Although I had only half listened to him at the time, the memory of his voice comes back to me now in all its anger.
“Draft Day” from SIGHTSEEING © 2005 by Rattawaut Lapcharoensap; reprinted with the permission of the publisher, Grove Atlantic, Inc.