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.
Every thing I own save the poor Beasts is in a heap here in the center of this room and if I mean to keep it whole I must before I sleep cover all against the leaking, rake old tins & leavings outside the door, burn a camphor stick against vermin, set my few mouse traps along the walls. And hope for better Weather & Strength in the days coming. I have put out in the night the 2 boys I found here, they had taken up living in the empty house. Those were Troubles I could not borrow, as I am scarce likely to make my own living in this poor place and coming West I have seen idle men Everywhere abut in La Grande and Boise and Missoula and in the Papers woeful news of the falling price of Wheat & Cattle both. They were polite & forebearing, for which reason I am sorry.
Like the liftoff of an airliner, the stamping of auto body parts requires inhuman force, producing decibels registered by your internal organs. The presses sound, unmistakably, as if they could kill you, which they could, without much interrupting their normal functioning. You’d notice the collision more than they would.
In the locker room we unhooked our bras, hoping
shower steam kept us invisible,
but our souls showed, our prepubescent fuzz.
Stockings hung from shower rods like biblical snakes.
Who would learn first? we wondered, and drew breasts
in goofy loops until Sister Angelica banged
her ruler, and we printed the same confession
a hundred times, her shadow crossing
our spiral notebooks, her eyes like old
spiders. Ginnie learned and got a heart-shaped
locket, then a shotgun wedding ring.
Heather gave birth so often she forgot,
she said, what caused it. Becky’s womb was lost
in an abortionist’s garage. We said good-bye
in the Immaculate Conception parking lot.
Still, nuns click their beads in memory of us,
how we strolled, arms linked, singing,
into the world of women where all deaths begin.
THERESA
I’m worried she’ll be a fish out of water.
ROBERTA
When do we meet her? When’re they movin’?
THERESA
Not now. Soon. We’ll see. They’re waiting to see if Mingjing can transfer jobs.
ROBERTA puts down her cookie.
ROBERTA
What’s her name?
THERESA
Minjung.
ROBERTA
Theresa.
THERESA sips tea.
THERESA
She’s in architecture, works for a big firm out there
ROBERTA
(indicating the under-eye skin) Those dark circles, no wonder.
THERESA
But she might give it up and teach.
ROBERTA
You seen her only once?
THERESA
Tim never said any—why would I think
ROBERTA
Such a rush.
THERESA
My brain’s exploded.
ROBERTA
I knew it: how far gone is she?
Note: A male actor plays the roles of both THERESA and her son TIM. A second male actor plays the roles of both ROBERTA and her son ROBBIE.
The family lined up to kiss me. With Guillaume and then Odile, I aimed for the wrong cheek and ended up butting noses with Guillaume and nearly kissing Odile on the lips, which seemed to horrify her and her profound sense of propriety. Before her turn, Lola told me, “Right cheek first,” which clarified everything, and I was prepared for Nicole. No one else seemed to be bothered that Nicole wore no shirt. As we kissed, I smelled makeup and removers, nail polish and toothpaste, and the lingering odor of her younger children—sour milk and butter cookies.
THE PLEASING HOUR © 1999 by Lily King; reprinted with the permission of the publisher, Grove Atlantic, Inc.
At Bob’s Big Boy, one day in the summer, my mother and I pressed together in the phone booth and emptied her purse out on the metal ledge. There were hundreds of scraps of paper, pencils, leaking pens, scuffed makeup tubes, brushes woven with a fabric of lint and hair, a bra, and finally, my mother’s brown leather address book, with the pages falling out. We wanted to call my father in Las Vegas. It was already over a year since we’d flown there. The number was written, carefully, in brown ink.
Every thing I own save the poor Beasts is in a heap here in the center of this room and if I mean to keep it whole I must before I sleep cover all against the leaking, rake old tins & leavings outside the door, burn a camphor stick against vermin, set my few mouse traps along the walls. And hope for better Weather & Strength in the days coming. I have put out in the night the 2 boys I found here, they had taken up living in the empty house. Those were Troubles I could not borrow, as I am scarce likely to make my own living in this poor place and coming West I have seen idle men Everywhere abut in La Grande and Boise and Missoula and in the Papers woeful news of the falling price of Wheat & Cattle both. They were polite & forebearing, for which reason I am sorry.
Like the liftoff of an airliner, the stamping of auto body parts requires inhuman force, producing decibels registered by your internal organs. The presses sound, unmistakably, as if they could kill you, which they could, without much interrupting their normal functioning. You’d notice the collision more than they would.
In the locker room we unhooked our bras, hoping
shower steam kept us invisible,
but our souls showed, our prepubescent fuzz.
Stockings hung from shower rods like biblical snakes.
Who would learn first? we wondered, and drew breasts
in goofy loops until Sister Angelica banged
her ruler, and we printed the same confession
a hundred times, her shadow crossing
our spiral notebooks, her eyes like old
spiders. Ginnie learned and got a heart-shaped
locket, then a shotgun wedding ring.
Heather gave birth so often she forgot,
she said, what caused it. Becky’s womb was lost
in an abortionist’s garage. We said good-bye
in the Immaculate Conception parking lot.
Still, nuns click their beads in memory of us,
how we strolled, arms linked, singing,
into the world of women where all deaths begin.
THERESA
I’m worried she’ll be a fish out of water.
ROBERTA
When do we meet her? When’re they movin’?
THERESA
Not now. Soon. We’ll see. They’re waiting to see if Mingjing can transfer jobs.
ROBERTA puts down her cookie.
ROBERTA
What’s her name?
THERESA
Minjung.
ROBERTA
Theresa.
THERESA sips tea.
THERESA
She’s in architecture, works for a big firm out there
ROBERTA
(indicating the under-eye skin) Those dark circles, no wonder.
THERESA
But she might give it up and teach.
ROBERTA
You seen her only once?
THERESA
Tim never said any—why would I think
ROBERTA
Such a rush.
THERESA
My brain’s exploded.
ROBERTA
I knew it: how far gone is she?
Note: A male actor plays the roles of both THERESA and her son TIM. A second male actor plays the roles of both ROBERTA and her son ROBBIE.
The family lined up to kiss me. With Guillaume and then Odile, I aimed for the wrong cheek and ended up butting noses with Guillaume and nearly kissing Odile on the lips, which seemed to horrify her and her profound sense of propriety. Before her turn, Lola told me, “Right cheek first,” which clarified everything, and I was prepared for Nicole. No one else seemed to be bothered that Nicole wore no shirt. As we kissed, I smelled makeup and removers, nail polish and toothpaste, and the lingering odor of her younger children—sour milk and butter cookies.
THE PLEASING HOUR © 1999 by Lily King; reprinted with the permission of the publisher, Grove Atlantic, Inc.
At Bob’s Big Boy, one day in the summer, my mother and I pressed together in the phone booth and emptied her purse out on the metal ledge. There were hundreds of scraps of paper, pencils, leaking pens, scuffed makeup tubes, brushes woven with a fabric of lint and hair, a bra, and finally, my mother’s brown leather address book, with the pages falling out. We wanted to call my father in Las Vegas. It was already over a year since we’d flown there. The number was written, carefully, in brown ink.