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 am a fantastic lover. I’ve got to give me that. There are only two things about me that females don’t like: the fact that I sing when I drive—admittedly, I’m not a musician—and my skiing. All the girls I know ski moguls well—really solid bump skiers—and I try to turn in the swells and lose my downhill line. I have thick hair. I’ve got a car that stinks from new leather. My skin, my body—that’s all decent. But I get ridiculed on bumps, and the way I sing gets mistaken for a joke or an imitation of someone dippy, when in fact your car is one of the few places besides the bathroom where you can sing the best songs the way they were meant to be sung. They all think my singing is terrible. Screw them. (I did.)
We Googled how to shoot gun, and when we tried, we were spooked by the recoil, by the salty smell and smoke, by the liturgical drama of the whole thing in the woods. But actually we loved to shoot them, the guns. We liked to shoot them wrong even, with a loose hand, the pitch forward and the pitch back. Under our judicious trigger fingers, beer bottles died, Vogue magazines died, Chia Pets died, oak saplings died, squirrels died, elk died. We feasted.
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.
By the time he was infamous enough to sell out bullfighting arenas, the Caruso C was a sort of burlesque number. He would inch to it from the frequencies below, nearly embrace the note, and then flat a bit before trumpeting, C! with full tenor fury. Toscanini chided him for grandstanding, but this in-and-out tease worked well with German and Latin American houses, which particularly enjoyed the punishment of a loud flirtation.
There were times when the girls knew where the man was in the orchard, and times they did not. These times they trod slowly and carefully, not that they thought he would harm them—not really—but it had become a kind of game. You might turn the corner into an orchard row and find him there, walking toward you or away, or maybe you saw his legs, his trunk, obscured in leaves.
He could be cruel. I once saw him blow pepper in the cat’s face. He loathed that cat, a surly, untrainable tom found in the street. But he was fond of another creature we took in, an orphaned nestling sparrow. Against expectations, the bird survived and learned to fly. But, afraid that it would not know how to fend for itself outdoors, we decided to keep it. My father sometimes sat by its cage, watching the bird and cooing to it in Chinese. My mother was amused. “You see: He has more to say to that bird than to us!” The emperor and his nightingale, she called them. “The Chinese have always loved their birds.” (What none of us knew: At that very moment in China keeping pet birds had been prohibited as a bourgeois affectation, and sparrows were being exterminated as pests.)
I am a fantastic lover. I’ve got to give me that. There are only two things about me that females don’t like: the fact that I sing when I drive—admittedly, I’m not a musician—and my skiing. All the girls I know ski moguls well—really solid bump skiers—and I try to turn in the swells and lose my downhill line. I have thick hair. I’ve got a car that stinks from new leather. My skin, my body—that’s all decent. But I get ridiculed on bumps, and the way I sing gets mistaken for a joke or an imitation of someone dippy, when in fact your car is one of the few places besides the bathroom where you can sing the best songs the way they were meant to be sung. They all think my singing is terrible. Screw them. (I did.)
We Googled how to shoot gun, and when we tried, we were spooked by the recoil, by the salty smell and smoke, by the liturgical drama of the whole thing in the woods. But actually we loved to shoot them, the guns. We liked to shoot them wrong even, with a loose hand, the pitch forward and the pitch back. Under our judicious trigger fingers, beer bottles died, Vogue magazines died, Chia Pets died, oak saplings died, squirrels died, elk died. We feasted.
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.
By the time he was infamous enough to sell out bullfighting arenas, the Caruso C was a sort of burlesque number. He would inch to it from the frequencies below, nearly embrace the note, and then flat a bit before trumpeting, C! with full tenor fury. Toscanini chided him for grandstanding, but this in-and-out tease worked well with German and Latin American houses, which particularly enjoyed the punishment of a loud flirtation.
There were times when the girls knew where the man was in the orchard, and times they did not. These times they trod slowly and carefully, not that they thought he would harm them—not really—but it had become a kind of game. You might turn the corner into an orchard row and find him there, walking toward you or away, or maybe you saw his legs, his trunk, obscured in leaves.
He could be cruel. I once saw him blow pepper in the cat’s face. He loathed that cat, a surly, untrainable tom found in the street. But he was fond of another creature we took in, an orphaned nestling sparrow. Against expectations, the bird survived and learned to fly. But, afraid that it would not know how to fend for itself outdoors, we decided to keep it. My father sometimes sat by its cage, watching the bird and cooing to it in Chinese. My mother was amused. “You see: He has more to say to that bird than to us!” The emperor and his nightingale, she called them. “The Chinese have always loved their birds.” (What none of us knew: At that very moment in China keeping pet birds had been prohibited as a bourgeois affectation, and sparrows were being exterminated as pests.)