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.
MR. GREEN: Two verbs! Granted, they are irregular. But that’s no excuse, for these forms —
Do. Not. Change.
They are immutable!
More reliable than the people in your lives. More stable than governments. More dependable than churches or philosophies. These verbs are your deliverance!
Commit these patterns to memory. Determine the person, the number, the tense. Then remember the form. That’s all there is. To conjugation.
Conjugation. Such a beautiful word. Such a beautiful act.
All right, maybe I do. Maybe I do talk first and think later. Yes, it’s true, I admit it freely. It’s because I’m from the city. Now, you can say to me, Glory B., it’s no crime to think about what you’re going to say before you say it, to figure out how it relates to the topic being discussed, or if it does at all, or if what you’re going to say has the slightest factual basis whatsoever. I’ve got that argument down cold, because listen, words are my music. When I talk, I improvise. It’s not so much what I’m saying as how it sounds. Take jazz, all right, let’s use jazz as an analogy, parallels are always good. Now, what I mean is, what—do you think every time Bird sat down to blow he had the whole musical score right in front of him? Did he have the whole thing thought out? He did not. Well, he probably did not, I’m not entirely familiar with the man’s work, but probably, most likely he improvised is what I’m saying.
A grotesquely fat woman lives in the farthest corner of the village. Her name is Matilde. When she walks to market, she must gather up her fat just as another woman gathers up her skirts, daintily pinching it between her fingers and hooking it over her wrists. Matilde’s fat moves about her gracefully, sighing and rustling with her every gesture. She walks as if enveloped by a dense storm cloud, from which the real, sylph-like Matilde is waiting to emerge, blinding as a sunbeam.
Like most of the fight world’s habits, hand wrapping is both practical and ritual. Done properly, it protects the hands from damage without giving a fighter an unfair advantage. Like boxing gloves or a football helmet, wrapping functions as both armor and sword, a protective measure that allows you to hit harder and more frequently than you could without it. One of the officials murmured, “That’s beautiful.” Colonna said “Thank you” without looking up from his work.
For as long as we could remember we had been together in the house which established the center of the known world. When we were younger we woke in the mornings while it was still dark. Grandad would be clumping out of his back room and down the hall to the bathroom, phantom-like in his long underwear. He wore it because he was a farmer, which was why he got up before first light to do the chores. In the two iron beds in the attic room there were the four of us—Celia and Jenny, who were sisters, Anne and Katie, sisters too, like our mothers, who were sisters. Sometimes we watched each other, knew differences. But most of the time it was as though the four of us were one and we lived in days that gathered into one stream of time, undifferentiated and communal.
Turn signals blink through ice in the skin.
Snake dreams uncoil,
burrow into the spine of books.
Night spills from cracked eggs.
Thin hands vein oars in a canyon bed.
We follow deer tracks back to the insertion of her tongue.
MR. GREEN: Two verbs! Granted, they are irregular. But that’s no excuse, for these forms —
Do. Not. Change.
They are immutable!
More reliable than the people in your lives. More stable than governments. More dependable than churches or philosophies. These verbs are your deliverance!
Commit these patterns to memory. Determine the person, the number, the tense. Then remember the form. That’s all there is. To conjugation.
Conjugation. Such a beautiful word. Such a beautiful act.
All right, maybe I do. Maybe I do talk first and think later. Yes, it’s true, I admit it freely. It’s because I’m from the city. Now, you can say to me, Glory B., it’s no crime to think about what you’re going to say before you say it, to figure out how it relates to the topic being discussed, or if it does at all, or if what you’re going to say has the slightest factual basis whatsoever. I’ve got that argument down cold, because listen, words are my music. When I talk, I improvise. It’s not so much what I’m saying as how it sounds. Take jazz, all right, let’s use jazz as an analogy, parallels are always good. Now, what I mean is, what—do you think every time Bird sat down to blow he had the whole musical score right in front of him? Did he have the whole thing thought out? He did not. Well, he probably did not, I’m not entirely familiar with the man’s work, but probably, most likely he improvised is what I’m saying.
A grotesquely fat woman lives in the farthest corner of the village. Her name is Matilde. When she walks to market, she must gather up her fat just as another woman gathers up her skirts, daintily pinching it between her fingers and hooking it over her wrists. Matilde’s fat moves about her gracefully, sighing and rustling with her every gesture. She walks as if enveloped by a dense storm cloud, from which the real, sylph-like Matilde is waiting to emerge, blinding as a sunbeam.
Like most of the fight world’s habits, hand wrapping is both practical and ritual. Done properly, it protects the hands from damage without giving a fighter an unfair advantage. Like boxing gloves or a football helmet, wrapping functions as both armor and sword, a protective measure that allows you to hit harder and more frequently than you could without it. One of the officials murmured, “That’s beautiful.” Colonna said “Thank you” without looking up from his work.
For as long as we could remember we had been together in the house which established the center of the known world. When we were younger we woke in the mornings while it was still dark. Grandad would be clumping out of his back room and down the hall to the bathroom, phantom-like in his long underwear. He wore it because he was a farmer, which was why he got up before first light to do the chores. In the two iron beds in the attic room there were the four of us—Celia and Jenny, who were sisters, Anne and Katie, sisters too, like our mothers, who were sisters. Sometimes we watched each other, knew differences. But most of the time it was as though the four of us were one and we lived in days that gathered into one stream of time, undifferentiated and communal.
Turn signals blink through ice in the skin.
Snake dreams uncoil,
burrow into the spine of books.
Night spills from cracked eggs.
Thin hands vein oars in a canyon bed.
We follow deer tracks back to the insertion of her tongue.