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.
Prendergast painted the Public Garden;
remembered, even at a little distance,
the city takes on his ravishing tones.
Jots of color resolve: massed parasols
above a glimmering pond, the transit
of almost translucent swans. Brilliant bits
- jewels? slices of sugared fruit? – bloom
into a clutch of skirts on the bridge
above the summer boaters. His city’s essence:
all the hues of chintzes or makeup
or Italian ices, all the sheen artifice
is capable of. Our city’s lavish paintbox.
My grandmother owned a valise in which she carried all her possessions, but the stories she told were also possessions. The stories were fantastic, yet I believed them. She said that when she was young fireflies had invaded her town, so the whole town was lighted even during the nighttime. She said she had been told that the summer she was born, strange clouds passed through the sky. Every night for seven nights, a different cloud. The clouds all had a strange glow, as if someone had taken the moon and stretched it into a cloud shape. Those seven moon-clouds, she said, had been a lucky omen. As she spoke, she always gestured a great deal, so the background to her stories would be the soft tinkling of the bell we had bought her.
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.
I think it was near one o’clock in the morning. Retching blood, Botho jerked his head back and forth, then lurched forward as though loosing his earthly form. This was followed by a sharp intake of breath, as though he was trying to suck it back in again. The bullet had lodged near his shoulder; it had not damaged his throat, and he could still utter, “I’ll pay the devil my soul twice over to watch you hang.” That sentence seemed to take an eternity to work its way through. I all but felt his grimace clamp down on my heart; blood bubbled along his lips.
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.
At my desk, with my pen, pencil, markers, ruler, and thick white paper, I was in command. And when I drew the superhero who was my alter-ego, I gave him —i.e., myself—what in all my shyness I didn’t have: a girlfriend. She was as pretty as my limited skills could make her. Her name was Laura.
Prendergast painted the Public Garden;
remembered, even at a little distance,
the city takes on his ravishing tones.
Jots of color resolve: massed parasols
above a glimmering pond, the transit
of almost translucent swans. Brilliant bits
- jewels? slices of sugared fruit? – bloom
into a clutch of skirts on the bridge
above the summer boaters. His city’s essence:
all the hues of chintzes or makeup
or Italian ices, all the sheen artifice
is capable of. Our city’s lavish paintbox.
My grandmother owned a valise in which she carried all her possessions, but the stories she told were also possessions. The stories were fantastic, yet I believed them. She said that when she was young fireflies had invaded her town, so the whole town was lighted even during the nighttime. She said she had been told that the summer she was born, strange clouds passed through the sky. Every night for seven nights, a different cloud. The clouds all had a strange glow, as if someone had taken the moon and stretched it into a cloud shape. Those seven moon-clouds, she said, had been a lucky omen. As she spoke, she always gestured a great deal, so the background to her stories would be the soft tinkling of the bell we had bought her.
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.
I think it was near one o’clock in the morning. Retching blood, Botho jerked his head back and forth, then lurched forward as though loosing his earthly form. This was followed by a sharp intake of breath, as though he was trying to suck it back in again. The bullet had lodged near his shoulder; it had not damaged his throat, and he could still utter, “I’ll pay the devil my soul twice over to watch you hang.” That sentence seemed to take an eternity to work its way through. I all but felt his grimace clamp down on my heart; blood bubbled along his lips.
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.
At my desk, with my pen, pencil, markers, ruler, and thick white paper, I was in command. And when I drew the superhero who was my alter-ego, I gave him —i.e., myself—what in all my shyness I didn’t have: a girlfriend. She was as pretty as my limited skills could make her. Her name was Laura.