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.

We Do Not Eat Our Hearts Alone
Poems

Voluptuous, then merely sticky: to absorb him through my palms. We

were as Danes in Denmark, thus I thought bathwater and longingly,

thought how kneeling hurts the knees, then ghost-gravel. I was

Marriott-air-conditioned unto arctic, not remedied by his warmth

an inch east. I thought surely the ice must calve, then forthwith. Or

was it Ramada, Ramada. In those stories, men stitch coarse blankets

together and spoon, or Strauss-waltz on blinding ice. In those stories,

such measures save no one. What does: deep consummation; marrow

from a shinbone.

Unaccompanied: Poems

Mamá, you left me.   Papá, you left me.

Abuelos, I left you.   Tías, I left you.

Cousins, I’m here.   Cousins, I left you.

Tías, welcome.   Abuelos, we’ll be back soon.

Mamá, let’s return.   Papá ¿por qué?

Mamá, marry for papers.   Papá, marry for papers.

Tías, abuelos, cousins, be careful.

I won’t marry for papers.   I might marry for papers.

I won’t be back soon.   I can’t vote anywhere,

I will etch visas on toilet paper and throw them from a lighthouse.

Walking on Cowrie Shells
Stories

Hours later, Temperance is leading a “Mommyhood: The Christian Way” workshop for unwed mothers. She takes deep breaths, still trying to channel her mother’s certitude that this child was meant to be, ordained. The mothers around her are lollipop young, mainly from the projects, and chockablock with children. She can almost look at them now and not hurt. Before, her ovaries would ache just to be in this room with so many women who seemed to get pregnant if you so much as blew on them. Shanice begat Shanice Jr. begat Lativia begat LaRenée begat Jamelia begat Jameka. Begat, begetting, begotten.

Temperance had shared these thorny thoughts with Andrew once—confession, allegedly good for the soul and all. She had whispered that night, but her grievances somehow echoed in the cloistered silence of their bedroom. Why, Andrew, why? Why would God bless them and not her? Hadn’t she done everything right, everything expected? Waited to get her JD, her MRS. Why was she still waiting on her happily ever after? Andrew knuckled tears from her cheeks, his eyes filled with such tender disappointment, as he reminded her she was better than that, a woman of God—above such pretty, elitist notions. She bowed her head then. She listened as he prayed.

But sometimes, Lord. Sometimes.

This Boy's Life
A Memoir

Roy stored his ammunition in a metal box he kept hidden in the closet. As with everything else hidden in the apartment, I knew exactly where to find it. There was a layer of loose .22 rounds on the bottom of the box under shells of bigger caliber, dropped there by the handful the way men drop pennies on their dressers at night. I took some and put them in a hiding place of my own. With these I started loading up the rifle. Hammer cocked, a round in the chamber, finger resting lightly on the trigger, I drew a bead on whoever walked by—women pushing strollers, children, garbage collectors laughing and calling to each other, anyone—and as they passed under my window I sometimes had to bite my lip to keep from laughing in the ecstasy of my power over them, and at their absurd and innocent belief that they were safe.

Hippo in a Tutu
Dancing in Disney Animation
Even in a traditional "princess" picture, such as the still-popular 1950 Cinderella, the scene with the most romantic magic—the Fred-and-Ginger buoyancy and sense of brimming anticipation—is not, as we would expect, Cinderella's waltz with the Prince in the ballroom. That we only get to glimpse from behind the courtiers watching it—during those moments when the dance isn't interrupted by comic business for secondary characters or by the couple themselves breaking off the dance merely to drink in each other's shadows. The accent is on their private discovery of their feelings, not on the public celebration of their newfound romance. The real dance energy, rather, surges forth in the designing, cutting, and assembly of the heroine's dress in her lonely bedroom by an exaltation of singing mice and birds: a solitary girl's fantasy. The Disney inspirational artist for Cinderella, as for many animated features of the 1950s, was the brilliant and thoughtful painter Mary Blair. Although Blair was frequently heartbroken by what she viewed as the mistranslation of her concepts in the finished films—a feeling that seems to be embodied in the moment when Cinderella's wicked stepmother and stepsisters tear her dress to shreds—throughout the picture you can still see evidence of Blair's deeply unconventional ideas of how stories can be told through synecdoche (key details made to stand for a larger whole) and emotions represented through color and shifts in proportion.
 
Harper's Magazine
January 2005

I've lurked in chat rooms with discussion threads devoted to such subjects as “A previously unknown Albert Goodell brace found in the wild.” One sweltering summer morning, on the Jay County fairgrounds in the farming village of Portland, Indiana, I walked among fabulous machines as small as schnauzers and as huge as elephants, all gleaming in the August sun. Drive belts whirred, flywheels revolved, pistons fired, and a forest of smokestacks piped foul smoke and rude music into the otherwise cloudless sky. Mostly, I have ridden a Midwestern circuit of flea markets and farm auctions in the passenger seat of an emerald green Toyota pickup truck piloted by a fifty-five-year-old botanist with a ponytail, spectacles like windowpanes, and a beard verging on the Whitmanesque.

We Do Not Eat Our Hearts Alone
Poems

Voluptuous, then merely sticky: to absorb him through my palms. We

were as Danes in Denmark, thus I thought bathwater and longingly,

thought how kneeling hurts the knees, then ghost-gravel. I was

Marriott-air-conditioned unto arctic, not remedied by his warmth

an inch east. I thought surely the ice must calve, then forthwith. Or

was it Ramada, Ramada. In those stories, men stitch coarse blankets

together and spoon, or Strauss-waltz on blinding ice. In those stories,

such measures save no one. What does: deep consummation; marrow

from a shinbone.

Unaccompanied: Poems

Mamá, you left me.   Papá, you left me.

Abuelos, I left you.   Tías, I left you.

Cousins, I’m here.   Cousins, I left you.

Tías, welcome.   Abuelos, we’ll be back soon.

Mamá, let’s return.   Papá ¿por qué?

Mamá, marry for papers.   Papá, marry for papers.

Tías, abuelos, cousins, be careful.

I won’t marry for papers.   I might marry for papers.

I won’t be back soon.   I can’t vote anywhere,

I will etch visas on toilet paper and throw them from a lighthouse.

Walking on Cowrie Shells
Stories

Hours later, Temperance is leading a “Mommyhood: The Christian Way” workshop for unwed mothers. She takes deep breaths, still trying to channel her mother’s certitude that this child was meant to be, ordained. The mothers around her are lollipop young, mainly from the projects, and chockablock with children. She can almost look at them now and not hurt. Before, her ovaries would ache just to be in this room with so many women who seemed to get pregnant if you so much as blew on them. Shanice begat Shanice Jr. begat Lativia begat LaRenée begat Jamelia begat Jameka. Begat, begetting, begotten.

Temperance had shared these thorny thoughts with Andrew once—confession, allegedly good for the soul and all. She had whispered that night, but her grievances somehow echoed in the cloistered silence of their bedroom. Why, Andrew, why? Why would God bless them and not her? Hadn’t she done everything right, everything expected? Waited to get her JD, her MRS. Why was she still waiting on her happily ever after? Andrew knuckled tears from her cheeks, his eyes filled with such tender disappointment, as he reminded her she was better than that, a woman of God—above such pretty, elitist notions. She bowed her head then. She listened as he prayed.

But sometimes, Lord. Sometimes.

This Boy's Life
A Memoir

Roy stored his ammunition in a metal box he kept hidden in the closet. As with everything else hidden in the apartment, I knew exactly where to find it. There was a layer of loose .22 rounds on the bottom of the box under shells of bigger caliber, dropped there by the handful the way men drop pennies on their dressers at night. I took some and put them in a hiding place of my own. With these I started loading up the rifle. Hammer cocked, a round in the chamber, finger resting lightly on the trigger, I drew a bead on whoever walked by—women pushing strollers, children, garbage collectors laughing and calling to each other, anyone—and as they passed under my window I sometimes had to bite my lip to keep from laughing in the ecstasy of my power over them, and at their absurd and innocent belief that they were safe.

Hippo in a Tutu
Dancing in Disney Animation
Even in a traditional "princess" picture, such as the still-popular 1950 Cinderella, the scene with the most romantic magic—the Fred-and-Ginger buoyancy and sense of brimming anticipation—is not, as we would expect, Cinderella's waltz with the Prince in the ballroom. That we only get to glimpse from behind the courtiers watching it—during those moments when the dance isn't interrupted by comic business for secondary characters or by the couple themselves breaking off the dance merely to drink in each other's shadows. The accent is on their private discovery of their feelings, not on the public celebration of their newfound romance. The real dance energy, rather, surges forth in the designing, cutting, and assembly of the heroine's dress in her lonely bedroom by an exaltation of singing mice and birds: a solitary girl's fantasy. The Disney inspirational artist for Cinderella, as for many animated features of the 1950s, was the brilliant and thoughtful painter Mary Blair. Although Blair was frequently heartbroken by what she viewed as the mistranslation of her concepts in the finished films—a feeling that seems to be embodied in the moment when Cinderella's wicked stepmother and stepsisters tear her dress to shreds—throughout the picture you can still see evidence of Blair's deeply unconventional ideas of how stories can be told through synecdoche (key details made to stand for a larger whole) and emotions represented through color and shifts in proportion.
 
Harper's Magazine
January 2005

I've lurked in chat rooms with discussion threads devoted to such subjects as “A previously unknown Albert Goodell brace found in the wild.” One sweltering summer morning, on the Jay County fairgrounds in the farming village of Portland, Indiana, I walked among fabulous machines as small as schnauzers and as huge as elephants, all gleaming in the August sun. Drive belts whirred, flywheels revolved, pistons fired, and a forest of smokestacks piped foul smoke and rude music into the otherwise cloudless sky. Mostly, I have ridden a Midwestern circuit of flea markets and farm auctions in the passenger seat of an emerald green Toyota pickup truck piloted by a fifty-five-year-old botanist with a ponytail, spectacles like windowpanes, and a beard verging on the Whitmanesque.