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 like a crusty bread. Last spring, when the man who sold my son the satellite dish told him that the signal wasn’t coming in good because of the big old elm tree across the road by the house, that it was getting in the way of the reception, everyone—my son, my daughter-in-law, my grandsons, and then, because everyone else was, even the man—looked at me. I loved that tree. It was always there. It would always make me feel good to walk in the yard through its patterned shadow on my way into the house. But then, across the road, there was the satellite dish. I said they could chop the tree down but I wanted every bit of wood from it cut and stacked in a pile by itself. And though I hadn’t done it for years, since we’d got an electric stove and a furnace, I started back using the old wood stove, which we’d left in the kitchen mostly for looks. It’s better to cook bread in a wood stove anyway. You can tell the difference not just in the crust but also in taste.
He watched the sky and thought of all the fires the world had ever seen, fires from wars, fires from bombs. So much smoke. Where has it all gone? New smoke curled beneath wisps of old, drifting ever higher, higher. Where does it all go? He inhaled deeply and his insides burned, and Vernon knew all that smoke was now just the air we breathe.
We do not mean to complain. We know how it is.
In older, even sadder cultures the worst possible sorts
have been playing hot and cold with people’s lives
for much longer. Like Perrow says,
We’ll all have baboon hearts one of these days.
We wintered with ample fuel and real tomatoes.
We were allowed to roam, sniffing and chewing
at the tufted crust. We were let to breathe.
That is, we respirated. Now the soft clocks
have gorged themselves on our time. Yet
as our hair blanches and comes out
in hanks, we can tell it is nearly spring –
the students shed their black coats
on the green; we begin to see shade.
Lo, this is the breastbone’s embraceable light.
We are here. Still breathing and constellated.
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 Sade who joins you at the hotel restaurant is not the Sade who gave you all the love she got she gave you more than she could give she gave you love. But she is a Sade who, you realize after a bit of googling, can flex muscles in her leg that most people will never know about and who may be one of the best dancers in the world even though she went to school to be a doctor. She will talk to you about making paintings in Romania while you eat food that tastes like dreams of food.
A waiter whose persona seems to have been inspired by the Steve Martin hamburger scene in the remake of The Pink Panther keeps pouring wine. You win an argument about the name of a jazz biopic even though your sparring partner has spent some SERIOUS time with Wynton Marsalis. By the end of the day you will have heard stories about artists whose names you have searched for in the stacks of many libraries, like one that begins with “Romie called me one morning” and ends with a dick joke the butt of which is, somehow, the New York Times. You fall asleep in a blue room on a mattress that wants your lower back to just go ahead and peace out. But you feel like the number-one luckiest girl in the world.
Downstairs in the dark, Aunt Jemima smiles from the confines of a painting, giving everybody the middle finger.
In this dream Harlem, the avenues are even wider and more grand. I visit elegant lounges that have mahogany fittings and floor-to-ceiling windows that open onto the avenue—striped silk curtains billow in the breeze. In that dream Harlem, that nowhere Harlem, I reach the campus of City College by ascending the face of a ragged cliff many times more treacherous than the steps of St. Nicholas Park. In these settings unfold various plots of which I am not quite the author.
I like a crusty bread. Last spring, when the man who sold my son the satellite dish told him that the signal wasn’t coming in good because of the big old elm tree across the road by the house, that it was getting in the way of the reception, everyone—my son, my daughter-in-law, my grandsons, and then, because everyone else was, even the man—looked at me. I loved that tree. It was always there. It would always make me feel good to walk in the yard through its patterned shadow on my way into the house. But then, across the road, there was the satellite dish. I said they could chop the tree down but I wanted every bit of wood from it cut and stacked in a pile by itself. And though I hadn’t done it for years, since we’d got an electric stove and a furnace, I started back using the old wood stove, which we’d left in the kitchen mostly for looks. It’s better to cook bread in a wood stove anyway. You can tell the difference not just in the crust but also in taste.
He watched the sky and thought of all the fires the world had ever seen, fires from wars, fires from bombs. So much smoke. Where has it all gone? New smoke curled beneath wisps of old, drifting ever higher, higher. Where does it all go? He inhaled deeply and his insides burned, and Vernon knew all that smoke was now just the air we breathe.
We do not mean to complain. We know how it is.
In older, even sadder cultures the worst possible sorts
have been playing hot and cold with people’s lives
for much longer. Like Perrow says,
We’ll all have baboon hearts one of these days.
We wintered with ample fuel and real tomatoes.
We were allowed to roam, sniffing and chewing
at the tufted crust. We were let to breathe.
That is, we respirated. Now the soft clocks
have gorged themselves on our time. Yet
as our hair blanches and comes out
in hanks, we can tell it is nearly spring –
the students shed their black coats
on the green; we begin to see shade.
Lo, this is the breastbone’s embraceable light.
We are here. Still breathing and constellated.
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 Sade who joins you at the hotel restaurant is not the Sade who gave you all the love she got she gave you more than she could give she gave you love. But she is a Sade who, you realize after a bit of googling, can flex muscles in her leg that most people will never know about and who may be one of the best dancers in the world even though she went to school to be a doctor. She will talk to you about making paintings in Romania while you eat food that tastes like dreams of food.
A waiter whose persona seems to have been inspired by the Steve Martin hamburger scene in the remake of The Pink Panther keeps pouring wine. You win an argument about the name of a jazz biopic even though your sparring partner has spent some SERIOUS time with Wynton Marsalis. By the end of the day you will have heard stories about artists whose names you have searched for in the stacks of many libraries, like one that begins with “Romie called me one morning” and ends with a dick joke the butt of which is, somehow, the New York Times. You fall asleep in a blue room on a mattress that wants your lower back to just go ahead and peace out. But you feel like the number-one luckiest girl in the world.
Downstairs in the dark, Aunt Jemima smiles from the confines of a painting, giving everybody the middle finger.
In this dream Harlem, the avenues are even wider and more grand. I visit elegant lounges that have mahogany fittings and floor-to-ceiling windows that open onto the avenue—striped silk curtains billow in the breeze. In that dream Harlem, that nowhere Harlem, I reach the campus of City College by ascending the face of a ragged cliff many times more treacherous than the steps of St. Nicholas Park. In these settings unfold various plots of which I am not quite the author.