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 couldn’t move. The ground was tiny, an aerial map, rich in detail, and the wind tugged at my feet. What were the commands? Arch, I whispered. Arch arch arch. That was all I could remember. I stood up, gripping the side of the opening, my feet balanced on the metal bar beneath the doorway, resisting the steady rush of wind. The jumpmaster shouted again. I felt the pressure of his fingers. And then I was gone. I left the plane behind me and fell into the air.
Last year, Simone had been voted “Most Christ-Like” of the Domremy Catholic High School Freshman Class.
Privately, she hoped that she did have God’s grace to thank for her ease in the world. Something about grace, even though one need not do anything to receive it, denoted heroism. It was heroism in the sense of being singled out and chosen—an idea that accounted for and made tolerable the ways in which Simone felt entirely alone.
Nothing, she knew, had been easy for Joan—nothing except talking to God. “If you want God to talk to you, you have to be silent,” Simone knew from one of Joan’s videos. She had attempted silence in every form she could fathom but even her attempts felt loud. How to empty herself of her self, she wondered.
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.
VANESSA: Have you ever met a black woman…you know…in like, real life that talks like that?
GUS: I’m sure I have.
VANESSA: I see.
GUS: That’s why I think this matters so much. My work is really interrogating my own interiority. But having you present my work, I’m being more true to myself by exposing my inner self through you. Creating a real life version of …the black woman inside me. To be enjoyed by all. I want her voice to be heard. I want to create her with you.
VANESSA: Oh my god. I just read an article about this in The Atlantic. What did they call it? Uhph—Racial Tourism! That’s it!
GUS: That’s a new one.
VANESSA: No it’s like…“Let me play double-dutch with the black girls on the playground cause they make me feel all empowered and fierce. They can teach me fun comebacks and how to wag my finger and I can be just as fierce and fabulous as them, but without the burden of actually being a black girl.” I got that right?
GUS: Whoa…You don’t know me.
VANESSA: I don’t.
GUS: I’m not a racist.
VANESSA: This is really awkward for you.
SARA
I don't think $20 is much for a bribe.
LOWELL
Isn't it? American? I was hoping it was a whole hell of a lot.
SARA
Maybe. Guys who work in airports make a lot of funny money different ways.
LOWELL
Oh but, oh, well. Yeah. Fuck. Well it was my first bribe.
As Frankel muses on Progress in his Hillman Minx, Ed Markowitz wearily drives a rented Fiat to the Oriental Institute. He had not wanted to go on the day of his arrival, but this is the only time he can be sure to see Mujahid Rashaf, who is returning to Saudi Arabia within the week. Rashaf is an Oxford fellow and the son of a merchant prince. He will provide just the reasoned yet religious opinions that Markowitz seeks for his book, Terrorism: A Civilized Creed.
I couldn’t move. The ground was tiny, an aerial map, rich in detail, and the wind tugged at my feet. What were the commands? Arch, I whispered. Arch arch arch. That was all I could remember. I stood up, gripping the side of the opening, my feet balanced on the metal bar beneath the doorway, resisting the steady rush of wind. The jumpmaster shouted again. I felt the pressure of his fingers. And then I was gone. I left the plane behind me and fell into the air.
Last year, Simone had been voted “Most Christ-Like” of the Domremy Catholic High School Freshman Class.
Privately, she hoped that she did have God’s grace to thank for her ease in the world. Something about grace, even though one need not do anything to receive it, denoted heroism. It was heroism in the sense of being singled out and chosen—an idea that accounted for and made tolerable the ways in which Simone felt entirely alone.
Nothing, she knew, had been easy for Joan—nothing except talking to God. “If you want God to talk to you, you have to be silent,” Simone knew from one of Joan’s videos. She had attempted silence in every form she could fathom but even her attempts felt loud. How to empty herself of her self, she wondered.
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.
VANESSA: Have you ever met a black woman…you know…in like, real life that talks like that?
GUS: I’m sure I have.
VANESSA: I see.
GUS: That’s why I think this matters so much. My work is really interrogating my own interiority. But having you present my work, I’m being more true to myself by exposing my inner self through you. Creating a real life version of …the black woman inside me. To be enjoyed by all. I want her voice to be heard. I want to create her with you.
VANESSA: Oh my god. I just read an article about this in The Atlantic. What did they call it? Uhph—Racial Tourism! That’s it!
GUS: That’s a new one.
VANESSA: No it’s like…“Let me play double-dutch with the black girls on the playground cause they make me feel all empowered and fierce. They can teach me fun comebacks and how to wag my finger and I can be just as fierce and fabulous as them, but without the burden of actually being a black girl.” I got that right?
GUS: Whoa…You don’t know me.
VANESSA: I don’t.
GUS: I’m not a racist.
VANESSA: This is really awkward for you.
SARA
I don't think $20 is much for a bribe.
LOWELL
Isn't it? American? I was hoping it was a whole hell of a lot.
SARA
Maybe. Guys who work in airports make a lot of funny money different ways.
LOWELL
Oh but, oh, well. Yeah. Fuck. Well it was my first bribe.
As Frankel muses on Progress in his Hillman Minx, Ed Markowitz wearily drives a rented Fiat to the Oriental Institute. He had not wanted to go on the day of his arrival, but this is the only time he can be sure to see Mujahid Rashaf, who is returning to Saudi Arabia within the week. Rashaf is an Oxford fellow and the son of a merchant prince. He will provide just the reasoned yet religious opinions that Markowitz seeks for his book, Terrorism: A Civilized Creed.