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.
I’m a Bolshevik now as well, I said, drawing myself up proudly. Bolshevism, I continued, drawing on notions I’d mastered just two or three days previous, is an international movement. I raised a mud-stained finger. Along lines of class.
But not along yours, child! said the first woman kindly. I had made the mistake of telling them about my family.
There’d be no place for Karl Peter Voxlauers in their movement, I promise you, the ex-lieutenant put in.
Best thing that he’s dead, then, I suppose, I said. That quieted them awhile.
THERESA
I’m worried she’ll be a fish out of water.
ROBERTA
When do we meet her? When’re they movin’?
THERESA
Not now. Soon. We’ll see. They’re waiting to see if Mingjing can transfer jobs.
ROBERTA puts down her cookie.
ROBERTA
What’s her name?
THERESA
Minjung.
ROBERTA
Theresa.
THERESA sips tea.
THERESA
She’s in architecture, works for a big firm out there
ROBERTA
(indicating the under-eye skin) Those dark circles, no wonder.
THERESA
But she might give it up and teach.
ROBERTA
You seen her only once?
THERESA
Tim never said any—why would I think
ROBERTA
Such a rush.
THERESA
My brain’s exploded.
ROBERTA
I knew it: how far gone is she?
Note: A male actor plays the roles of both THERESA and her son TIM. A second male actor plays the roles of both ROBERTA and her son ROBBIE.
When the future spoke—as it did every day now—it spoke through jukeboxes. In the paradise of affluence Dionne Warwick was always signing a Burt Bacharach song, as a Greek island came into view at starboard. The stars—movie actresses, pop singers, grizzled dissipated novelists, intellectual fashion designers—got hilariously drunk in ship’s bars, alternately fell half-naked down casino steps or announced their intention of filming the work of Genet or Ouspensky. The planet was their plaything. Having the power of free movement to and from anywhere, they jetted between Corfu and Bhutan and Seychelles, colliding briefly with one another to invent new psychic spaces, to share the new fun of the incandescent future.
When the future spoke—as it did every day now—it spoke through jukeboxes. In the paradise of affluence Dionne Warwick was always signing a Burt Bacharach song, as a Greek island came into view at starboard. The stars—movie actresses, pop singers, grizzled dissipated novelists, intellectual fashion designers—got hilariously drunk in ship’s bars, alternately fell half-naked down casino steps or announced their intention of filming the work of Genet or Ouspensky. The planet was their plaything. Having the power of free movement to and from anywhere, they jetted between Corfu and Bhutan and Seychelles, colliding briefly with one another to invent new psychic spaces, to share the new fun of the incandescent future.
WOMAN 2: The first time I saw the devil was in the desert thirty-five kilometers north of Shaarm, a multi-national army base. The devil first appeared to me in the form of a huge scorpion but it took on many forms during our brief encounter, some of them insect, some of them human, and once as a desert turkey, which I came to prefer. The roof of meaning, at any rate, was gone.
Even as they entered, he could feel the place envelop him like a vapor with a smell of heavy, overcooked food, privation and dust. The lady taking tickets, old and wigged, with big bosoms, conspicuously switched from Yiddish to German, putting the interlopers on notice that they had been spotted. Eyeing the overblown placard for the play, showing a giant Jew with maniacal eyes throttling some stricken Gentile, he again wondered, Why did they huddle so, these people? And all the while he kept hearing this coarse, splattery jargon, so animated, with that catarrh as though a fishbone were stuck in the throat. There was a man selling hot tea from a samovar and another vending sticky cakes and ices. And the eating—everybody eating, gnawing apples and chewing sweet crackling dumplings from greasy sheets of brown paper. And that marshy barn-warmth of people huddling. It was too close for him.
I’m a Bolshevik now as well, I said, drawing myself up proudly. Bolshevism, I continued, drawing on notions I’d mastered just two or three days previous, is an international movement. I raised a mud-stained finger. Along lines of class.
But not along yours, child! said the first woman kindly. I had made the mistake of telling them about my family.
There’d be no place for Karl Peter Voxlauers in their movement, I promise you, the ex-lieutenant put in.
Best thing that he’s dead, then, I suppose, I said. That quieted them awhile.
THERESA
I’m worried she’ll be a fish out of water.
ROBERTA
When do we meet her? When’re they movin’?
THERESA
Not now. Soon. We’ll see. They’re waiting to see if Mingjing can transfer jobs.
ROBERTA puts down her cookie.
ROBERTA
What’s her name?
THERESA
Minjung.
ROBERTA
Theresa.
THERESA sips tea.
THERESA
She’s in architecture, works for a big firm out there
ROBERTA
(indicating the under-eye skin) Those dark circles, no wonder.
THERESA
But she might give it up and teach.
ROBERTA
You seen her only once?
THERESA
Tim never said any—why would I think
ROBERTA
Such a rush.
THERESA
My brain’s exploded.
ROBERTA
I knew it: how far gone is she?
Note: A male actor plays the roles of both THERESA and her son TIM. A second male actor plays the roles of both ROBERTA and her son ROBBIE.
When the future spoke—as it did every day now—it spoke through jukeboxes. In the paradise of affluence Dionne Warwick was always signing a Burt Bacharach song, as a Greek island came into view at starboard. The stars—movie actresses, pop singers, grizzled dissipated novelists, intellectual fashion designers—got hilariously drunk in ship’s bars, alternately fell half-naked down casino steps or announced their intention of filming the work of Genet or Ouspensky. The planet was their plaything. Having the power of free movement to and from anywhere, they jetted between Corfu and Bhutan and Seychelles, colliding briefly with one another to invent new psychic spaces, to share the new fun of the incandescent future.
When the future spoke—as it did every day now—it spoke through jukeboxes. In the paradise of affluence Dionne Warwick was always signing a Burt Bacharach song, as a Greek island came into view at starboard. The stars—movie actresses, pop singers, grizzled dissipated novelists, intellectual fashion designers—got hilariously drunk in ship’s bars, alternately fell half-naked down casino steps or announced their intention of filming the work of Genet or Ouspensky. The planet was their plaything. Having the power of free movement to and from anywhere, they jetted between Corfu and Bhutan and Seychelles, colliding briefly with one another to invent new psychic spaces, to share the new fun of the incandescent future.
WOMAN 2: The first time I saw the devil was in the desert thirty-five kilometers north of Shaarm, a multi-national army base. The devil first appeared to me in the form of a huge scorpion but it took on many forms during our brief encounter, some of them insect, some of them human, and once as a desert turkey, which I came to prefer. The roof of meaning, at any rate, was gone.
Even as they entered, he could feel the place envelop him like a vapor with a smell of heavy, overcooked food, privation and dust. The lady taking tickets, old and wigged, with big bosoms, conspicuously switched from Yiddish to German, putting the interlopers on notice that they had been spotted. Eyeing the overblown placard for the play, showing a giant Jew with maniacal eyes throttling some stricken Gentile, he again wondered, Why did they huddle so, these people? And all the while he kept hearing this coarse, splattery jargon, so animated, with that catarrh as though a fishbone were stuck in the throat. There was a man selling hot tea from a samovar and another vending sticky cakes and ices. And the eating—everybody eating, gnawing apples and chewing sweet crackling dumplings from greasy sheets of brown paper. And that marshy barn-warmth of people huddling. It was too close for him.