Search All Winners

Name Sort descending Genre Year
Raymond Abbott Fiction 1985
Aria Aber Poetry 2020
André Aciman Nonfiction 1995
David Adjmi Drama 2010
Ellen Akins Fiction 1989
Daniel Alarcón Fiction 2004
Jeffery Renard Allen Fiction 2002
Jeffery Renard Allen Poetry 2002
Mindy Aloff Nonfiction 1987
Diannely Antigua Poetry 2020
Will Arbery Drama 2020
Elizabeth Arnold Poetry 2002
John Ash Poetry 1986
Kirsten Bakis Fiction 2004
Catherine Barnett Poetry 2004
Clare Barron Drama 2017
Elif Batuman Nonfiction 2010
Jen Beagin Fiction 2017
Jo Ann Beard Nonfiction 1997
Joshua Bennett Poetry 2021
Mischa Berlinski Fiction 2008
Ciaran Berry Poetry 2012
Aaliyah Bilal Fiction 2024
Liza Birkenmeier Drama 2025
Sherwin Bitsui Poetry 2006
Scott Blackwood Fiction 2011
Brian Blanchfield Nonfiction 2016
Tommye Blount Poetry 2023
Judy Blunt Nonfiction 2001
Anne Boyer Poetry 2018
Claire Boyles Fiction 2022
Courtney A. Brkic Fiction 2003
Joel Brouwer Poetry 2001
Jericho Brown Poetry 2009
Rita Bullwinkel Fiction 2022

Selected winners

Mindy Aloff
1987
Hippo in a Tutu
Dancing in Disney Animation
Even in a traditional "princess" picture, such as the still-popular 1950 Cinderella, the scene with the most romantic magic—the Fred-and-Ginger buoyancy and sense of brimming anticipation—is not, as we would expect, Cinderella's waltz with the Prince in the ballroom. That we only get to glimpse from behind the courtiers watching it—during those moments when the dance isn't interrupted by comic business for secondary characters or by the couple themselves breaking off the dance merely to drink in each other's shadows. The accent is on their private discovery of their feelings, not on the public celebration of their newfound romance. The real dance energy, rather, surges forth in the designing, cutting, and assembly of the heroine's dress in her lonely bedroom by an exaltation of singing mice and birds: a solitary girl's fantasy. The Disney inspirational artist for Cinderella, as for many animated features of the 1950s, was the brilliant and thoughtful painter Mary Blair. Although Blair was frequently heartbroken by what she viewed as the mistranslation of her concepts in the finished films—a feeling that seems to be embodied in the moment when Cinderella's wicked stepmother and stepsisters tear her dress to shreds—throughout the picture you can still see evidence of Blair's deeply unconventional ideas of how stories can be told through synecdoche (key details made to stand for a larger whole) and emotions represented through color and shifts in proportion.
 
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Bruce Duffy
1988
The World as I Found It
A Novel

Even as they entered, he could feel the place envelop him like a vapor with a smell of heavy, overcooked food, privation and dust. The lady taking tickets, old and wigged, with big bosoms, conspicuously switched from Yiddish to German, putting the interlopers on notice that they had been spotted. Eyeing the overblown placard for the play, showing a giant Jew with maniacal eyes throttling some stricken Gentile, he again wondered, Why did they huddle so, these people? And all the while he kept hearing this coarse, splattery jargon, so animated, with that catarrh as though a fishbone were stuck in the throat. There was a man selling hot tea from a samovar and another vending sticky cakes and ices. And the eating—everybody eating, gnawing apples and chewing sweet crackling dumplings from greasy sheets of brown paper. And that marshy barn-warmth of people huddling. It was too close for him.

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Phillip B. Williams
2017
Thief in the Interior
Poems

Rachel comes to the porch holding herself and asking for

my uncle. We say he gone to the store but he’s years dead.

She keeps holding on to herself like her body remembers

what her mind lost. When he get back, tell him he owe me $5.

We offer to pay. She says, No. Tell him.

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Stephen Adly Guirgis
2006
The Last Days of Judas Iscariot
A Play

JUDGE LITTLEFIELD: Cunningham, you’re the cynical, faithless spawn of a crackpot gypsy and a defrocked mick—yet, you just told me Jesus would have you on your knees in three minutes.

 

CUNNINGHAM: So?

 

JUDGE LITTLEFIELD: So consider this: your friend Judas? He has Jesus for three years. Think about that, Cunningham. Three years in the foxhole with the best friend ya ever had, then he shot him in the back for a pack of Kools. Think what that says about the essential character of the man. Now go home and stir that into your wee gypsy teapot! Petition’s invalid, motion denied! Next case!

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Daniel Hall
1998
Strange Relation
Poems

He sent this key from Florida.

I think. A key to what?

I tried the car, the trucks,

tried every door – nothing fit.

My wife thought it was his idea

of a joke. I never got his jokes.

 

Not a word from him, just things:

a blank postcard from Colorado Springs;

a snapshot of himself from Aspen,

arm in arm with somebody, but

both faces had been scissored out.

A sign above the bar said SHIT HAPPENS.

 

Eugene, Spokane… He’s telephone,

collect, and I knew it was him,

though he always used a different name.

At times enough to make you laugh:

Call from Hans, Ricardo, Jeff,

will you accept? Yes. Dial tone.

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Ling Ma
2020
Severance
A Novel

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.

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