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 wanted for her sake to undo it,
I asked her to forget. There wouldn’t be
time for us since I was married. I’d made her want
another time, when, whole, impossibly together,
we’d rescue my avowal, which was a curse.
Though I asked her not to, she went on
waiting for that time and, by the tree where I
couldn’t get away to meet her, waiting
undismayed, heartsick, eighteen.
I am a cowry girl, a marine biologist to be exact. The 8-hour move-
ment started in the United States in 1884. Feeling more and more.
Gave birth. Took up the question. 8 hours shall be the norm. Marx:
Slavery disfigured a part of the republic. Labor with a white skin
cannot emancipate itself where labor with a black skin is branded.
The time named. Endorse the same. Half of the same. More pro-
foundly. Therefore be considered a synonym.
“YOU COME WITH ME NOW,” Uma madam says one day, after breakfast. She has come prepared. A male guard comes forward and grabs my arm.
“Where?” I say, wrenching free. He lets go. “Stop it! I need to talk to Gobind about the appeals.”
“You walk or he will drag you,” says Uma madam in reply.
Back in my cell, I gather my sleeping mat, my other salwar kameez, slip my feet into the rubber slippers, then look around for anything else that is mine. Nothing is.
Uma madam pulls my dupatta off my neck. When I grab at it, she clicks her tongue. “What use is modesty for you anymore?” she says.
We walk down the corridor, the three of us, and a few women look up from inside their cells. The corridor is so dim they are no more than movement, shapes, smells, a belch. Perhaps sensing my fear, Uma madam finds it in her heart to explain. “You can’t have a dupatta in this place where you are going. Not allowed. What if you decide to hang yourself, what then? It has happened before.” After a pause, she says, “Nobody’s coming to see you, don’t worry about looking nice.”
Uma madam unlocks a door at the far end of the corridor, which opens onto a staircase I have never seen. Though the day is dry and sunny, there is a puddle of water on the top step.
“Go down,” she says.
When I don’t move, she insists, “Go! Don’t look so afraid, we don’t keep tigers down there.”
I climb down, my slippers slapping the steps.
IV. On Graduate School
Grass for acres and trees tall,
Then, everywhere there should be
Some harvest to guard, sprouts
A building in which I am mistaken
For a broom, handled as such,
And given to the floor. To dust.
I am here to learn: that which fears me
Must be crow
In this hall of heavy doors
Where my body is a blemish.
Last year, Simone had been voted “Most Christ-Like” of the Domremy Catholic High School Freshman Class.
Privately, she hoped that she did have God’s grace to thank for her ease in the world. Something about grace, even though one need not do anything to receive it, denoted heroism. It was heroism in the sense of being singled out and chosen—an idea that accounted for and made tolerable the ways in which Simone felt entirely alone.
Nothing, she knew, had been easy for Joan—nothing except talking to God. “If you want God to talk to you, you have to be silent,” Simone knew from one of Joan’s videos. She had attempted silence in every form she could fathom but even her attempts felt loud. How to empty herself of her self, she wondered.
One night during this time my mother started asking me questions, out of the blue, about William Faulkner. She was taking a night-school course and wanted to write about the Nobel laureate from her hometown, New Albany. Why Faulkner, I asked, of all the writers in the world to care about? Why not Richard Wright, James Baldwin or Zora Neale Hurston? “We’re kin to some Faulkners,” she said. I laughed out loud and informed her that this Faulkner was white. My mother smiled and said, “So?”
I wanted for her sake to undo it,
I asked her to forget. There wouldn’t be
time for us since I was married. I’d made her want
another time, when, whole, impossibly together,
we’d rescue my avowal, which was a curse.
Though I asked her not to, she went on
waiting for that time and, by the tree where I
couldn’t get away to meet her, waiting
undismayed, heartsick, eighteen.
I am a cowry girl, a marine biologist to be exact. The 8-hour move-
ment started in the United States in 1884. Feeling more and more.
Gave birth. Took up the question. 8 hours shall be the norm. Marx:
Slavery disfigured a part of the republic. Labor with a white skin
cannot emancipate itself where labor with a black skin is branded.
The time named. Endorse the same. Half of the same. More pro-
foundly. Therefore be considered a synonym.
“YOU COME WITH ME NOW,” Uma madam says one day, after breakfast. She has come prepared. A male guard comes forward and grabs my arm.
“Where?” I say, wrenching free. He lets go. “Stop it! I need to talk to Gobind about the appeals.”
“You walk or he will drag you,” says Uma madam in reply.
Back in my cell, I gather my sleeping mat, my other salwar kameez, slip my feet into the rubber slippers, then look around for anything else that is mine. Nothing is.
Uma madam pulls my dupatta off my neck. When I grab at it, she clicks her tongue. “What use is modesty for you anymore?” she says.
We walk down the corridor, the three of us, and a few women look up from inside their cells. The corridor is so dim they are no more than movement, shapes, smells, a belch. Perhaps sensing my fear, Uma madam finds it in her heart to explain. “You can’t have a dupatta in this place where you are going. Not allowed. What if you decide to hang yourself, what then? It has happened before.” After a pause, she says, “Nobody’s coming to see you, don’t worry about looking nice.”
Uma madam unlocks a door at the far end of the corridor, which opens onto a staircase I have never seen. Though the day is dry and sunny, there is a puddle of water on the top step.
“Go down,” she says.
When I don’t move, she insists, “Go! Don’t look so afraid, we don’t keep tigers down there.”
I climb down, my slippers slapping the steps.
IV. On Graduate School
Grass for acres and trees tall,
Then, everywhere there should be
Some harvest to guard, sprouts
A building in which I am mistaken
For a broom, handled as such,
And given to the floor. To dust.
I am here to learn: that which fears me
Must be crow
In this hall of heavy doors
Where my body is a blemish.
Last year, Simone had been voted “Most Christ-Like” of the Domremy Catholic High School Freshman Class.
Privately, she hoped that she did have God’s grace to thank for her ease in the world. Something about grace, even though one need not do anything to receive it, denoted heroism. It was heroism in the sense of being singled out and chosen—an idea that accounted for and made tolerable the ways in which Simone felt entirely alone.
Nothing, she knew, had been easy for Joan—nothing except talking to God. “If you want God to talk to you, you have to be silent,” Simone knew from one of Joan’s videos. She had attempted silence in every form she could fathom but even her attempts felt loud. How to empty herself of her self, she wondered.
One night during this time my mother started asking me questions, out of the blue, about William Faulkner. She was taking a night-school course and wanted to write about the Nobel laureate from her hometown, New Albany. Why Faulkner, I asked, of all the writers in the world to care about? Why not Richard Wright, James Baldwin or Zora Neale Hurston? “We’re kin to some Faulkners,” she said. I laughed out loud and informed her that this Faulkner was white. My mother smiled and said, “So?”