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.
The experience of reading Sex and Race is one of embrace and recoil as Rogers indiscriminately loads us down with the provable and the forever dodgy, the serious and the frivolous. Sometimes his footnotes, not always adequate or acceptable, tell when he was at work on a given aspect of his subject, in the way that an itemized credit card bill is a diary, a record of movement. The references go in clusters: in the 1920s, he was reading about Syria, Palestine, Arabia, and Persia; in the 1930s, he was reading the memoirs of English travelers in Africa. Sometimes, he clearly couldn’t go back to a particular library or text to check his facts again. And sometimes Sex and Race reads as though it had threatened to consume him, because the first-person voice breaks through in the book at times of what could be called narrative stress.
Gary was a big boy, ugly and pale, with a nose like a peeled potato. I’m not just saying that because my ex-wife slept with him once. We all slept around. She slept with Larry, too, but I don’t have anything bad to say about Larry. I myself almost slept with Larry, he was irresistible, a beautiful man. Gary and Larry—these names have been changed to protect the innocent, but not mine: I am guilty.
Gil Scott-Heron has a beautiful song I wish Ta-Nehisi Coates and all of us would listen to again. It’s called “Who Will Pay Reparations on My Soul?” The title is also the refrain, but the force of the rhetorical question lies in its pithy yoking of materialism and slave capitalism to a logic that transcends the material. This is also the crux of my dissent: What can reparations mean when the damage cannot be accounted for in the only system of accounting that a society recognizes? Part of the work here is thinking about the value of human life differently. This becomes obvious when commentators—including Coates—get caught up trying to tabulate the extraordinary value of slaves held in bondage (don’t forget to convert to today’s dollars!). It shouldn’t be hard to see that doing so yields to a mentality that is itself at the root of slavery as an institution: human beings cannot and should not be quantified, monetized, valued in dollar amounts. There can be no refund check for slavery. But that doesn’t mean the question of injury evaporates, so let us ask a harder question: Who will pay reparations on my soul?
Black American music has always insisted upon soul, the value of the human spirit, and its unquenchable yearnings. It’s a value that explicitly refuses material boundaries or limitations. You hear it encoded emblematically in the old spirituals. Black voices steal away to freedom. They go to the river. They fly away. Something is owed.
In that darkness,
Speakers rose like
Housing projects,
Moonlight diamonded
Mesh-wire panes.
What was it that bloomed
Around his curled
Body when the lights
Came up, fluorescent,
Vacant, garish?
The gym throbbed
With beats & rage
And his eyes darted
Like a man nailed
To a burning crucifix.
She went to school with other Russian-speaking children, some of whom were Latvian Jews, sons and daughters of the lucky few who had been hidden away by righteous gentiles, or who had fought with the famous 43rd Latvian Rifle Guards Battalion of the Soviet army. The others, like her own family, had moved to Riga after the war, their families mostly intact, having spent the war in the eastern evacuation zones.
Some of her schoolteachers were survivors themselves, but no one knew for sure. The survivors, they were silent. They had not yet been glorified, honoured, beatified. They simply went about their lives as best they could. Only decades later did my mother find out that the school principal, Nina Dmitrievna Alieva, was an inmate in Salaspils concentration camp. Only later did she learn of rumours that their strict chorus teacher had climbed out of a ditch in Rumbula.
Unlike the other countries, this one
Begins in houses, specific houses and the upstairs room
Where constitutions vibrate in the blockfront drawers,
A Queen Anne highboy, or maybe the widow’s walk
On a farmhouse hundreds of miles inland and believed
By the family to be a lookout for Indians though clearly
It was a pioneer’s conceit, fresh as the latest politics
From home: so much for that innocent thesis The Frontier.
The experience of reading Sex and Race is one of embrace and recoil as Rogers indiscriminately loads us down with the provable and the forever dodgy, the serious and the frivolous. Sometimes his footnotes, not always adequate or acceptable, tell when he was at work on a given aspect of his subject, in the way that an itemized credit card bill is a diary, a record of movement. The references go in clusters: in the 1920s, he was reading about Syria, Palestine, Arabia, and Persia; in the 1930s, he was reading the memoirs of English travelers in Africa. Sometimes, he clearly couldn’t go back to a particular library or text to check his facts again. And sometimes Sex and Race reads as though it had threatened to consume him, because the first-person voice breaks through in the book at times of what could be called narrative stress.
Gary was a big boy, ugly and pale, with a nose like a peeled potato. I’m not just saying that because my ex-wife slept with him once. We all slept around. She slept with Larry, too, but I don’t have anything bad to say about Larry. I myself almost slept with Larry, he was irresistible, a beautiful man. Gary and Larry—these names have been changed to protect the innocent, but not mine: I am guilty.
Gil Scott-Heron has a beautiful song I wish Ta-Nehisi Coates and all of us would listen to again. It’s called “Who Will Pay Reparations on My Soul?” The title is also the refrain, but the force of the rhetorical question lies in its pithy yoking of materialism and slave capitalism to a logic that transcends the material. This is also the crux of my dissent: What can reparations mean when the damage cannot be accounted for in the only system of accounting that a society recognizes? Part of the work here is thinking about the value of human life differently. This becomes obvious when commentators—including Coates—get caught up trying to tabulate the extraordinary value of slaves held in bondage (don’t forget to convert to today’s dollars!). It shouldn’t be hard to see that doing so yields to a mentality that is itself at the root of slavery as an institution: human beings cannot and should not be quantified, monetized, valued in dollar amounts. There can be no refund check for slavery. But that doesn’t mean the question of injury evaporates, so let us ask a harder question: Who will pay reparations on my soul?
Black American music has always insisted upon soul, the value of the human spirit, and its unquenchable yearnings. It’s a value that explicitly refuses material boundaries or limitations. You hear it encoded emblematically in the old spirituals. Black voices steal away to freedom. They go to the river. They fly away. Something is owed.
In that darkness,
Speakers rose like
Housing projects,
Moonlight diamonded
Mesh-wire panes.
What was it that bloomed
Around his curled
Body when the lights
Came up, fluorescent,
Vacant, garish?
The gym throbbed
With beats & rage
And his eyes darted
Like a man nailed
To a burning crucifix.
She went to school with other Russian-speaking children, some of whom were Latvian Jews, sons and daughters of the lucky few who had been hidden away by righteous gentiles, or who had fought with the famous 43rd Latvian Rifle Guards Battalion of the Soviet army. The others, like her own family, had moved to Riga after the war, their families mostly intact, having spent the war in the eastern evacuation zones.
Some of her schoolteachers were survivors themselves, but no one knew for sure. The survivors, they were silent. They had not yet been glorified, honoured, beatified. They simply went about their lives as best they could. Only decades later did my mother find out that the school principal, Nina Dmitrievna Alieva, was an inmate in Salaspils concentration camp. Only later did she learn of rumours that their strict chorus teacher had climbed out of a ditch in Rumbula.
Unlike the other countries, this one
Begins in houses, specific houses and the upstairs room
Where constitutions vibrate in the blockfront drawers,
A Queen Anne highboy, or maybe the widow’s walk
On a farmhouse hundreds of miles inland and believed
By the family to be a lookout for Indians though clearly
It was a pioneer’s conceit, fresh as the latest politics
From home: so much for that innocent thesis The Frontier.