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.
The deaf hear only in their dreams. I am sure
I can hear nothing. My how the mountain leaps
towards the sea and the little village below.
Who sang for the white plate my father tossed
at my sister’s shadow? What funeral is held
for a broken compass? When cutting onions,
leave a candle lit somewhere near an old man
holding his wife in a napkin. In the torn light of evening,
there is enough treason for everybody. Excuse me,
I should say something about the beauty of cranes.
Once in a sycamore I tossed a brick at a boy’s head.
It opened like the sea. I think I saw a crane.
A hole was worn into the snow, and I fit into it, arms and legs drawn up in front of me. The dog snatched and pulled at my mouth, eyes, hair; his breath clouded the air around us, but I did not feel its heat, or smell the blood sinking down between hairs of his muzzle. I watched my mitten come off in his teeth and sail upward, and it seemed unfair then and very sad that one hand should freeze all alone; I lifted the second mitten off and threw it away, then turned my face back again, overtaken suddenly by loneliness. A loud river ran in my ears, dragging me under.
The car veered, a tree loomed, and we were garlanded in glass, and a branch insinuated itself into Mini’s ribs and encircled her heart, and Ronnie sprang forth and broke against the tree, and in the backseat Caroline was marveling at how her brain became unmoored and seesawed forward into the jagged coastline of the front of her skull and back again, until she was no longer herself, and it was all so mortifying that we could have just died, and we did, we did die, we watched every second of it happen until we realized that we were back on the road, driving, and all of the preceding was just a little movie that Mom had played inside of our heads.
Come the marrow-hours when he couldn’t sleep,
the boy river-brinked and chorded.
Mud-bedded himself here in the root-mesh; bided.
Sieved our alluvial sounds—
The boy’s name is Cecil Mayberry; he is twelve, white, and he knows something. He knows what his mother is going to make for supper, pot roast and green Jell-O salad; he knows that the Russians have put a Sputnik in the sky. But these are not the items that are just now on Cecil’s mind. He is thinking about a man, a waterman, lying face down in a tidal pool two hundred yards from where he sits. Cecil knows the man’s name, Grayson “Tommie” Todman, and he knows that two .22-caliber bullets have made a mess of Tommie’s head. He knows the first one entered just below the right cheekline, cutting short Tommie’s last Fuck You to the world, and the second one grazed through his hair before nipping in at the peak and blowing out a portion of Tommie’s unlamented brain.
In fact, this is going to be the first time in Cecil’s life—but not the last—that he is an undisputed expert on a certain subject. He knows who shot Tommie, and why.
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.
The deaf hear only in their dreams. I am sure
I can hear nothing. My how the mountain leaps
towards the sea and the little village below.
Who sang for the white plate my father tossed
at my sister’s shadow? What funeral is held
for a broken compass? When cutting onions,
leave a candle lit somewhere near an old man
holding his wife in a napkin. In the torn light of evening,
there is enough treason for everybody. Excuse me,
I should say something about the beauty of cranes.
Once in a sycamore I tossed a brick at a boy’s head.
It opened like the sea. I think I saw a crane.
A hole was worn into the snow, and I fit into it, arms and legs drawn up in front of me. The dog snatched and pulled at my mouth, eyes, hair; his breath clouded the air around us, but I did not feel its heat, or smell the blood sinking down between hairs of his muzzle. I watched my mitten come off in his teeth and sail upward, and it seemed unfair then and very sad that one hand should freeze all alone; I lifted the second mitten off and threw it away, then turned my face back again, overtaken suddenly by loneliness. A loud river ran in my ears, dragging me under.
The car veered, a tree loomed, and we were garlanded in glass, and a branch insinuated itself into Mini’s ribs and encircled her heart, and Ronnie sprang forth and broke against the tree, and in the backseat Caroline was marveling at how her brain became unmoored and seesawed forward into the jagged coastline of the front of her skull and back again, until she was no longer herself, and it was all so mortifying that we could have just died, and we did, we did die, we watched every second of it happen until we realized that we were back on the road, driving, and all of the preceding was just a little movie that Mom had played inside of our heads.
Come the marrow-hours when he couldn’t sleep,
the boy river-brinked and chorded.
Mud-bedded himself here in the root-mesh; bided.
Sieved our alluvial sounds—
The boy’s name is Cecil Mayberry; he is twelve, white, and he knows something. He knows what his mother is going to make for supper, pot roast and green Jell-O salad; he knows that the Russians have put a Sputnik in the sky. But these are not the items that are just now on Cecil’s mind. He is thinking about a man, a waterman, lying face down in a tidal pool two hundred yards from where he sits. Cecil knows the man’s name, Grayson “Tommie” Todman, and he knows that two .22-caliber bullets have made a mess of Tommie’s head. He knows the first one entered just below the right cheekline, cutting short Tommie’s last Fuck You to the world, and the second one grazed through his hair before nipping in at the peak and blowing out a portion of Tommie’s unlamented brain.
In fact, this is going to be the first time in Cecil’s life—but not the last—that he is an undisputed expert on a certain subject. He knows who shot Tommie, and why.
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.