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.
When I bent down to stack the papers, I thought the sensation I had had in my brain earlier was the same sensation I had once felt when I shook a pomegranate near my ear. Or, not exactly a sensation, but a sound. That when I shook the pomegranate it had made the same sound as the sound my blood made when it swiveled in my brain, and that both sounds led to the same sensation: of something having dissolved where it shouldn’t have. I went over the memory, from when I picked up the pomegranate to when I shook it near my ear: I had squeezed the pomegranate by rolling it, had pressed into it with my thumbs, juiced it without cracking it open, because it’s the only way to juice a pomegranate without any special machines. All the juice was swiveling about inside the shell of the pomegranate, channeling its way around the seeds the way river water channels itself around driftwood. When I put the pomegranate down I could still hear the juice working its way around the seeds that were dead without their pulp. I had squeezed the pomegranate till the pulp was dead. I could invent a machine to juice pomegranates, I thought, and not just pomegranates but persimmons too, some very basic, cheap tool people could use in their homes, and then I imagined a thousand people, all wearing their house slippers, juicing their pomegranates and persimmons for breakfast, and I thought, never mind, no doubt someone has already invented it.
I had been in Ireland for six months, living mostly in Dublin, and I knew the unspoken rules of the Irish pub well enough to know that I was breaking most of them. I was a woman and I was alone. I was drinking stout instead of lager, a pint instead of a half pint. I was trying to pay for my own drink and, since there was no real lounge in this pub, I had no choice but to sit with the men. These were things a woman, traditionally, should not do, but I had a strong sense that in Ireland most rules had been created precisely that they might be broken…
SARA
I don't think $20 is much for a bribe.
LOWELL
Isn't it? American? I was hoping it was a whole hell of a lot.
SARA
Maybe. Guys who work in airports make a lot of funny money different ways.
LOWELL
Oh but, oh, well. Yeah. Fuck. Well it was my first bribe.
Come the marrow-hours when he couldn’t sleep,
the boy river-brinked and chorded.
Mud-bedded himself here in the root-mesh; bided.
Sieved our alluvial sounds—
Coyotes invade. They claim to be the truth.
Black bears nose the bougainvillea, moving
eastward, indiscriminate, original.
Our sinks back up, our toilets will not drain,
our nature disobediently tends toward nature.
…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.
When I bent down to stack the papers, I thought the sensation I had had in my brain earlier was the same sensation I had once felt when I shook a pomegranate near my ear. Or, not exactly a sensation, but a sound. That when I shook the pomegranate it had made the same sound as the sound my blood made when it swiveled in my brain, and that both sounds led to the same sensation: of something having dissolved where it shouldn’t have. I went over the memory, from when I picked up the pomegranate to when I shook it near my ear: I had squeezed the pomegranate by rolling it, had pressed into it with my thumbs, juiced it without cracking it open, because it’s the only way to juice a pomegranate without any special machines. All the juice was swiveling about inside the shell of the pomegranate, channeling its way around the seeds the way river water channels itself around driftwood. When I put the pomegranate down I could still hear the juice working its way around the seeds that were dead without their pulp. I had squeezed the pomegranate till the pulp was dead. I could invent a machine to juice pomegranates, I thought, and not just pomegranates but persimmons too, some very basic, cheap tool people could use in their homes, and then I imagined a thousand people, all wearing their house slippers, juicing their pomegranates and persimmons for breakfast, and I thought, never mind, no doubt someone has already invented it.
I had been in Ireland for six months, living mostly in Dublin, and I knew the unspoken rules of the Irish pub well enough to know that I was breaking most of them. I was a woman and I was alone. I was drinking stout instead of lager, a pint instead of a half pint. I was trying to pay for my own drink and, since there was no real lounge in this pub, I had no choice but to sit with the men. These were things a woman, traditionally, should not do, but I had a strong sense that in Ireland most rules had been created precisely that they might be broken…
SARA
I don't think $20 is much for a bribe.
LOWELL
Isn't it? American? I was hoping it was a whole hell of a lot.
SARA
Maybe. Guys who work in airports make a lot of funny money different ways.
LOWELL
Oh but, oh, well. Yeah. Fuck. Well it was my first bribe.
Come the marrow-hours when he couldn’t sleep,
the boy river-brinked and chorded.
Mud-bedded himself here in the root-mesh; bided.
Sieved our alluvial sounds—
Coyotes invade. They claim to be the truth.
Black bears nose the bougainvillea, moving
eastward, indiscriminate, original.
Our sinks back up, our toilets will not drain,
our nature disobediently tends toward nature.
…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.