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.
On the morning the last Lisbon daughter took her turn at suicide—it was Mary this time, and sleeping pills, like Therese—the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope. They got out of the EMS truck, as usual moving much too slowly in our opinion, and the fat one said under his breath, “This ain’t TV, folks, this is how fast we go.” He was carrying the heavy respirator and cardiac unit past the bushes that had grown monstrous and over the erupting lawn, tame and immaculate thirteen months earlier when the trouble began.
“The American girl will judge the leg contest!” they announced. I was still hoping that I had misunderstood them, even as German techno music was turned on and all the boys in the camp, ages eight to fourteen, were paraded out behind a screen that hid their bodies from the waist up; identifying numbers had been pinned to their shorts. I was given a clipboard with a form on which to rate their legs on a scale from one to ten. Gripped by panic, I stared at the clipboard. Nothing in either my life experience or my studies had prepared me to judge an adolescent boys’ leg contest. Finally the English teacher, who appeared to understand my predicament, whispered to me some scores of her own devising, and I wrote them on the form as if I had thought of them myself.
While I sit with all the other patients in the waiting room, I always think that I will ask Dr. Wald what exactly is happening to my eyes, but when I go into his examining room alone it is dark, with a circle of light on the wall, and the doctor is standing with his back to me arranging silver instruments on a cloth. The big chair is empty for me to go sit in, and each time I feel as if I have gone into a dream straight from being awake, the way you do sometimes at night, and I go to the chair without saying anything.
I don’t know why or how
Sometimes in August a maple
Will drop through a leaf burned through
Its tender parts with coral
While the veins keep green –
A rare device of color.
When I found such a one
I acted the despoiler,
Taking it from the woods
To give a friend for a trifle,
But her mind was on good deeds
And I turned shy and fearful.
“He has something of mine,” the man said.
With that, she turned to look at him. “Who are you?” she finally demanded. “Sergio called me to come pick him up, not you.”
“You don’t know me?” His voice pitched higher, edging toward frustration, maybe anger. “You don’t know who I am?”
“No,” she finally said. “I don’t.”
“He’s got my heart,” the man said, melodramatically holding his hands across his chest, but he sneered a bit when he said it. “He’s got a lot of things I want back.”
Copyright © 2006 by Manuel Muñoz. By permission of Stuart Bernstein Representation for Artists, New York, NY and protected by the Copyright Laws of the United States. All rights reserved. The printing, copying, redistribution, or retransmission of this Content without express permission is prohibited.
REGGIE
Now see you gonna laugh. Cause you thank everythang I do is funny. It ain’t funny. It’s meant tah teach ya. How I speak? That’s meant tah teach you too. You get older ‘n leave this place...one thing ya gonna remember is the music of ya daddy’s voice. The memory ‘a what made ya. How ya people survived. An’ these little games we play? These little hand games? That’s your history too… ‘cause ya grandmama sat ya mama down when she was smaller ‘n you ‘n they played these games ‘n had the best time that ever was. Then, ya mama taught me ya know that? Shoot, I ain’t wanna learn no little girl games. Imma man! (Laughs.) What I look like playin’ some little girl hand game! But, then we had you. And I taught you. That’s a road map. You ever get lost, you find ya way back home (points to his chest) from them. Understand? And one way or another... I’ll come get you.
On the morning the last Lisbon daughter took her turn at suicide—it was Mary this time, and sleeping pills, like Therese—the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope. They got out of the EMS truck, as usual moving much too slowly in our opinion, and the fat one said under his breath, “This ain’t TV, folks, this is how fast we go.” He was carrying the heavy respirator and cardiac unit past the bushes that had grown monstrous and over the erupting lawn, tame and immaculate thirteen months earlier when the trouble began.
“The American girl will judge the leg contest!” they announced. I was still hoping that I had misunderstood them, even as German techno music was turned on and all the boys in the camp, ages eight to fourteen, were paraded out behind a screen that hid their bodies from the waist up; identifying numbers had been pinned to their shorts. I was given a clipboard with a form on which to rate their legs on a scale from one to ten. Gripped by panic, I stared at the clipboard. Nothing in either my life experience or my studies had prepared me to judge an adolescent boys’ leg contest. Finally the English teacher, who appeared to understand my predicament, whispered to me some scores of her own devising, and I wrote them on the form as if I had thought of them myself.
While I sit with all the other patients in the waiting room, I always think that I will ask Dr. Wald what exactly is happening to my eyes, but when I go into his examining room alone it is dark, with a circle of light on the wall, and the doctor is standing with his back to me arranging silver instruments on a cloth. The big chair is empty for me to go sit in, and each time I feel as if I have gone into a dream straight from being awake, the way you do sometimes at night, and I go to the chair without saying anything.
I don’t know why or how
Sometimes in August a maple
Will drop through a leaf burned through
Its tender parts with coral
While the veins keep green –
A rare device of color.
When I found such a one
I acted the despoiler,
Taking it from the woods
To give a friend for a trifle,
But her mind was on good deeds
And I turned shy and fearful.
“He has something of mine,” the man said.
With that, she turned to look at him. “Who are you?” she finally demanded. “Sergio called me to come pick him up, not you.”
“You don’t know me?” His voice pitched higher, edging toward frustration, maybe anger. “You don’t know who I am?”
“No,” she finally said. “I don’t.”
“He’s got my heart,” the man said, melodramatically holding his hands across his chest, but he sneered a bit when he said it. “He’s got a lot of things I want back.”
Copyright © 2006 by Manuel Muñoz. By permission of Stuart Bernstein Representation for Artists, New York, NY and protected by the Copyright Laws of the United States. All rights reserved. The printing, copying, redistribution, or retransmission of this Content without express permission is prohibited.
REGGIE
Now see you gonna laugh. Cause you thank everythang I do is funny. It ain’t funny. It’s meant tah teach ya. How I speak? That’s meant tah teach you too. You get older ‘n leave this place...one thing ya gonna remember is the music of ya daddy’s voice. The memory ‘a what made ya. How ya people survived. An’ these little games we play? These little hand games? That’s your history too… ‘cause ya grandmama sat ya mama down when she was smaller ‘n you ‘n they played these games ‘n had the best time that ever was. Then, ya mama taught me ya know that? Shoot, I ain’t wanna learn no little girl games. Imma man! (Laughs.) What I look like playin’ some little girl hand game! But, then we had you. And I taught you. That’s a road map. You ever get lost, you find ya way back home (points to his chest) from them. Understand? And one way or another... I’ll come get you.