Search all Winners

1
2
3
4
5
6
7
8
9
10
…
Next page
Last page

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
Negar Azimi	Nonfiction	2026
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

1
2
3
4
5
6
7
8
9
10
…
Next page
Last page

Selected winners

Madeleine George

2016

The (curious case of the) Watson Intelligence

A Play

MERRICK

(resumptive)

So that's why I'm running. To dismantle the institutions that have enslaved us and humiliated us and conned us out of our money for far too long.

WATSON

You're running for election to the government so you can dismantle the government?

MERRICK

(no hesitation, total confidence)

Yes.

WATSON smiles pleasantly.

WATSON

Cool. Good luck.

Jordan E. Cooper

2021

Ain't No Mo'

PEACHES
If you are one of those people who come to shows just so you can cough your way through them, please take this time to unwrap your cough drops and remind your body to shut itself the fuck up. However, this is still a show that you are allowed to be a part of. If you feel like laughing, laugh. If you wanna shout, bitch, shout, we will gladly hold your mule. Talk to us if you want. This is your church. And for those of you who are quiet, obedient and unresponsive in your church, consider this yo black church, yo sanctuary, yo juke joint, yo kitchen table, yo trial shaker, yo money maker, yo elevator, yo resuscitator.

Lisa Shea

1993

Hula

A Novel

Our father comes in wearing his gorilla mask and hands, swinging his arms and beating his chest. My sister puts her hands over her plate. Our father pushes her hands away, grabs at her food and pokes sauerkraut through the mouth hole in his mask. He moves around the table, swiping food from the paper plates and guzzling from the cups. Near my mother he bangs his head on the knickknack shelf and one of the snow globes falls and breaks on the floor. It’s the one with the satellite inside.

When our father comes near me, I slide down under the table, but he pulls me back up by his hairy rubber hands. I don’t say anything. He likes being the gorilla. After dinner, when he takes off the mask and hands, his face will be flushed and there will be tears in his eyes.

Mona Mansour

2012

Humana Festival 2012

The Complete Plays

BEDER: (fuming) Independence Day fireworks. How can the Israelis call it Independence Day and not choke on the words? They celebrate forcibly removing people from their homes? Killing men, women, children? This is cause for a party?

ADHAM: Let’s not get political.

BEDER: Who’s getting political?

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.