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 saw inside the body of a man. The intern drew me
through the otherwise locked door; still in my hands
were eight glass vials the pharmacist had sent for,
to keep the glittering permanganate. That was my favorite task,
the weighing and dilution of the violet douche,
administered before the hysterectomies. In autopsy, he’d opened
like a box his arms had fallen from, neither looking at me
or away. As if he’d come through wind,
his hair was mussed. There was a funnel and a drain
inside the floor. And today I saw a sidewalk in the woods,
the handsome wooden cages and the smallest gravel pearls
smoothed around the bottoms of the trees, and then
a shock of feathers lifted on the damaged eagle’s head.
And the kestrel was afraid. Its open wing, so rarely looked down on
is gray, rust, black, and gray again, and black, and I have,
once today, felt my body drawn across its gaze. That one
with the vivid dragging wing, and then from underneath
I felt the other hovering.
The train arrived with a smell of hot metal. Not the one she needed. Framed in the windows, the frozen-forward faces of the passengers. But they different in New York, Lucifer says. Here, the seats face forward overlooking the tracks—as if you were the conductor, you think—but there, you face the other passengers, keep yo eyes to yoself. Yes, you think, looking but not seeing, eyes turned away, curving and swerving with the tracks. The conductor shouted, STANDING PASSENGERS, PLEASE DO NOT LEAN ON THE DOORS. Cause you might fall out of the doors, like teeth spilling from a mouth. The train drew off.
Ivy ties the cellar door
in autumn, in summer morning glory
wraps the ribs of a mouse.
Love binds me to the one
whose hair I’ve found in my mouth,
whose sleeping head I kiss,
wondering is it death?
beauty? this dark
star spreading in every direction from the crown of her head.
My love’s hair is autumn hair, there
the sun ripens.
My fingers harvest the dark
vegetable of her body.
In the morning I remove it
from my tongue and
sleep again.
There are no personal phone calls allowed. We do, however, allow for emergencies. If you must make an emergency phone call, ask your supervisor first. If you can’t find your supervisor, ask Phillip Spiers, who sits over there. He’ll check with Clarissa Nicks, who sits over there. If you make an emergency phone call without asking, you may be let go.
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.
Our culture is based in the profundity things carry. We’re always trying to see the world the way our ancestors did—we feel less of a relationship to the natural world. There was a time when we dictated our beliefs and told ourselves what was real, or what was wrong or right. There weren’t any abstractions. We knew that our language came before the world.
I saw inside the body of a man. The intern drew me
through the otherwise locked door; still in my hands
were eight glass vials the pharmacist had sent for,
to keep the glittering permanganate. That was my favorite task,
the weighing and dilution of the violet douche,
administered before the hysterectomies. In autopsy, he’d opened
like a box his arms had fallen from, neither looking at me
or away. As if he’d come through wind,
his hair was mussed. There was a funnel and a drain
inside the floor. And today I saw a sidewalk in the woods,
the handsome wooden cages and the smallest gravel pearls
smoothed around the bottoms of the trees, and then
a shock of feathers lifted on the damaged eagle’s head.
And the kestrel was afraid. Its open wing, so rarely looked down on
is gray, rust, black, and gray again, and black, and I have,
once today, felt my body drawn across its gaze. That one
with the vivid dragging wing, and then from underneath
I felt the other hovering.
The train arrived with a smell of hot metal. Not the one she needed. Framed in the windows, the frozen-forward faces of the passengers. But they different in New York, Lucifer says. Here, the seats face forward overlooking the tracks—as if you were the conductor, you think—but there, you face the other passengers, keep yo eyes to yoself. Yes, you think, looking but not seeing, eyes turned away, curving and swerving with the tracks. The conductor shouted, STANDING PASSENGERS, PLEASE DO NOT LEAN ON THE DOORS. Cause you might fall out of the doors, like teeth spilling from a mouth. The train drew off.
Ivy ties the cellar door
in autumn, in summer morning glory
wraps the ribs of a mouse.
Love binds me to the one
whose hair I’ve found in my mouth,
whose sleeping head I kiss,
wondering is it death?
beauty? this dark
star spreading in every direction from the crown of her head.
My love’s hair is autumn hair, there
the sun ripens.
My fingers harvest the dark
vegetable of her body.
In the morning I remove it
from my tongue and
sleep again.
There are no personal phone calls allowed. We do, however, allow for emergencies. If you must make an emergency phone call, ask your supervisor first. If you can’t find your supervisor, ask Phillip Spiers, who sits over there. He’ll check with Clarissa Nicks, who sits over there. If you make an emergency phone call without asking, you may be let go.
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.
Our culture is based in the profundity things carry. We’re always trying to see the world the way our ancestors did—we feel less of a relationship to the natural world. There was a time when we dictated our beliefs and told ourselves what was real, or what was wrong or right. There weren’t any abstractions. We knew that our language came before the world.