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.
It was true that Eva’s male colleagues had by now ceased to joke among themselves that a hopeless crush on Professor Mueller ought to be included among the requirements for the major in philosophy, but this was not because the students no longer fell in love with her. They did, at a rate which had of course slackened over the years but was still not inconsiderable. It was an irony—of course quite lost on Eva, who was steadfastly oblivious to the dramas in which she figured—that many who sat raptly listening to their professor’s lectures on the “futility of the passions,” on the need to transform the passive emotions directed towards objects and people outside ourselves into the active emotions of the intellect, were swollen with an advanced case of that same passive desire whose elimination was being eloquently, even passionately, urged upon them.
I know snow as soap opera, the comedy
of white heap shovelled into strophe
and anti-strophe for long blocks – snow
as envy, a shaken blanket making a lasting
echo over clean avenues.
WINN – How’s Melba?
EM – She told me she could see the afterlife.
WINN – What’s it like?
EM – Or my afterlife. She said that I would be a few other things when I die, that my cells have tiny souls so when I am a piece of cheese and a pigeon, I will still be me, but my consciousness will be broken down into smaller bits.
WINN – Does that feel happy to you?
EM – I don’t care. I’ll be like a deconstructed sandwich. / Or baby.
The last time I cried to your picture
was the anniversary of my grandmother’s death.
It was about her and you and how
all the things I could touch would disappear,
like your hand or dirty boxers on the floor,
or the liver spots on her arms, the space
of her missing tooth.
I’ve been having that dream again.
The one where I make a fortune selling my used underwear
and I buy her a tombstone.
The police ask me to empty my pockets. I turn them inside out and lay my miserabilia on the table. Two policemen quite unashamedly feel my thighs and ass, which tickles me. With clinical concentration they examine the stuff on the table. It is an obscene invasion of my privacy, more so than if they had turned my asshole inside out and inspected it under a microscope—any microbiologist could tell you that there we are remarkably similar. In pockets turned inside out you can see how we differ.
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.
It was true that Eva’s male colleagues had by now ceased to joke among themselves that a hopeless crush on Professor Mueller ought to be included among the requirements for the major in philosophy, but this was not because the students no longer fell in love with her. They did, at a rate which had of course slackened over the years but was still not inconsiderable. It was an irony—of course quite lost on Eva, who was steadfastly oblivious to the dramas in which she figured—that many who sat raptly listening to their professor’s lectures on the “futility of the passions,” on the need to transform the passive emotions directed towards objects and people outside ourselves into the active emotions of the intellect, were swollen with an advanced case of that same passive desire whose elimination was being eloquently, even passionately, urged upon them.
I know snow as soap opera, the comedy
of white heap shovelled into strophe
and anti-strophe for long blocks – snow
as envy, a shaken blanket making a lasting
echo over clean avenues.
WINN – How’s Melba?
EM – She told me she could see the afterlife.
WINN – What’s it like?
EM – Or my afterlife. She said that I would be a few other things when I die, that my cells have tiny souls so when I am a piece of cheese and a pigeon, I will still be me, but my consciousness will be broken down into smaller bits.
WINN – Does that feel happy to you?
EM – I don’t care. I’ll be like a deconstructed sandwich. / Or baby.
The last time I cried to your picture
was the anniversary of my grandmother’s death.
It was about her and you and how
all the things I could touch would disappear,
like your hand or dirty boxers on the floor,
or the liver spots on her arms, the space
of her missing tooth.
I’ve been having that dream again.
The one where I make a fortune selling my used underwear
and I buy her a tombstone.
The police ask me to empty my pockets. I turn them inside out and lay my miserabilia on the table. Two policemen quite unashamedly feel my thighs and ass, which tickles me. With clinical concentration they examine the stuff on the table. It is an obscene invasion of my privacy, more so than if they had turned my asshole inside out and inspected it under a microscope—any microbiologist could tell you that there we are remarkably similar. In pockets turned inside out you can see how we differ.