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.
It is not the primary thrust or purpose of these essays to serve as autobiography. The strictly autobiographical portions are to be approached with caution. This is not to suggest that they are not true, but veracity is hardly the issue or the point. The autobiographical parts often serve the same purpose as notes in a symphony or passage of music: simply to get from one place to another. The personage I am in some of the essays, to borrow Henry Adams’s metaphor, is simply a manikin on which I model some suitable clothes for the occasion… I am a critic and it is best for the reader never to forget that, even if at times I appear to be playing other roles.
What is the difference between beautiful girls and ordinary ones? My face was symmetrical. I’d taken Accutane. I wore the right things. None of it made a difference next to Tarryn. She had a shimmer about her, a light that I could never fully understand. I couldn’t even make eye contact with her. It was like staring at the headlights of a car on a dark road. Later, in my sorority, and even later at my job, I’d meet other women like her and wonder how they were made.
There were times when the girls knew where the man was in the orchard, and times they did not. These times they trod slowly and carefully, not that they thought he would harm them—not really—but it had become a kind of game. You might turn the corner into an orchard row and find him there, walking toward you or away, or maybe you saw his legs, his trunk, obscured in leaves.
NAT TURNER
What do you mean by your copyright?
The right to copy?
THOMAS R. GRAY
Yes, well, the right to publish and distribute, which involves copying necessarily.
NAT
And who can grant such a right?
THOMAS
The copyright office, naturally.
NAT
...
THOMAS
It protects the rights of the man who has done the work.
NAT
And is God not a sufficient witness of our works?
THOMAS
Uh,
No.
His hand had fallen as she moved. His expression was perplexed, one she’d seen a hundred times on teachers’ faces when they turned from the problem under study to that of the class’s persistent incomprehension. She turned away, to her flowers, and when she straightened, felt the shift in his gaze as if she’d been inside of it and now it were being withdrawn, unpinning her will, that went to him and away and stayed all at once. He said, “I’ve frightened you.”
I do not know how I need the air,
or if it needs me. The lost air,
the air which is smashed, like a red hat.
When the sun rises the amnesty
of the unused animals – the goat, the burrow,
the maroon horses - when the sun rises
the amnesty of these flies its flag: an orchard
with a thumb on top.
It is not the primary thrust or purpose of these essays to serve as autobiography. The strictly autobiographical portions are to be approached with caution. This is not to suggest that they are not true, but veracity is hardly the issue or the point. The autobiographical parts often serve the same purpose as notes in a symphony or passage of music: simply to get from one place to another. The personage I am in some of the essays, to borrow Henry Adams’s metaphor, is simply a manikin on which I model some suitable clothes for the occasion… I am a critic and it is best for the reader never to forget that, even if at times I appear to be playing other roles.
What is the difference between beautiful girls and ordinary ones? My face was symmetrical. I’d taken Accutane. I wore the right things. None of it made a difference next to Tarryn. She had a shimmer about her, a light that I could never fully understand. I couldn’t even make eye contact with her. It was like staring at the headlights of a car on a dark road. Later, in my sorority, and even later at my job, I’d meet other women like her and wonder how they were made.
There were times when the girls knew where the man was in the orchard, and times they did not. These times they trod slowly and carefully, not that they thought he would harm them—not really—but it had become a kind of game. You might turn the corner into an orchard row and find him there, walking toward you or away, or maybe you saw his legs, his trunk, obscured in leaves.
NAT TURNER
What do you mean by your copyright?
The right to copy?
THOMAS R. GRAY
Yes, well, the right to publish and distribute, which involves copying necessarily.
NAT
And who can grant such a right?
THOMAS
The copyright office, naturally.
NAT
...
THOMAS
It protects the rights of the man who has done the work.
NAT
And is God not a sufficient witness of our works?
THOMAS
Uh,
No.
His hand had fallen as she moved. His expression was perplexed, one she’d seen a hundred times on teachers’ faces when they turned from the problem under study to that of the class’s persistent incomprehension. She turned away, to her flowers, and when she straightened, felt the shift in his gaze as if she’d been inside of it and now it were being withdrawn, unpinning her will, that went to him and away and stayed all at once. He said, “I’ve frightened you.”
I do not know how I need the air,
or if it needs me. The lost air,
the air which is smashed, like a red hat.
When the sun rises the amnesty
of the unused animals – the goat, the burrow,
the maroon horses - when the sun rises
the amnesty of these flies its flag: an orchard
with a thumb on top.