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.
For as long as we could remember we had been together in the house which established the center of the known world. When we were younger we woke in the mornings while it was still dark. Grandad would be clumping out of his back room and down the hall to the bathroom, phantom-like in his long underwear. He wore it because he was a farmer, which was why he got up before first light to do the chores. In the two iron beds in the attic room there were the four of us—Celia and Jenny, who were sisters, Anne and Katie, sisters too, like our mothers, who were sisters. Sometimes we watched each other, knew differences. But most of the time it was as though the four of us were one and we lived in days that gathered into one stream of time, undifferentiated and communal.
To live in the city of El Paso in those days was to hover at the edge of crushing and proximate cruelty, to safely fill the lungs with air steeped in horror. In news, in academic texts, in literature and art, El Paso’s twin city of Juárez was perpetually being presented as a place of murder and violence, a landscape of factories, maquiladoras, drug cartels, narcos, hit men, sicarios, delinquents, military, police, poverty, femicide, rape, kidnapping, disappearance, homicide, slaughter, massacre, shootings, gun fights, turf wars, mass graves, garbage dumps, impunity, corruption, decay, erosion, a hemispheric laboratory of social and economic horror. This representation—the narrative of a city irreparably fractured by its looming border, saddled with broken institutions and a terrorized populace—had become part and parcel of its legacy, the subconscious inheritance of all those who came into the city’s orbit.
From THE LINE BECOMES A RIVER by Francisco Cantu, to be published on February 6, 2018 by Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright (c) 2018 by Francisco Cantu.
I imagine my daddy’s mind
looks most like broken
dryer machines
scattered in a forest,
field mice living
in the leftover lint.
I imagine it looks
like stepped-on
syringes, too,
flies stooping
down to sop up
all the sweet.
Hours later, Temperance is leading a “Mommyhood: The Christian Way” workshop for unwed mothers. She takes deep breaths, still trying to channel her mother’s certitude that this child was meant to be, ordained. The mothers around her are lollipop young, mainly from the projects, and chockablock with children. She can almost look at them now and not hurt. Before, her ovaries would ache just to be in this room with so many women who seemed to get pregnant if you so much as blew on them. Shanice begat Shanice Jr. begat Lativia begat LaRenée begat Jamelia begat Jameka. Begat, begetting, begotten.
Temperance had shared these thorny thoughts with Andrew once—confession, allegedly good for the soul and all. She had whispered that night, but her grievances somehow echoed in the cloistered silence of their bedroom. Why, Andrew, why? Why would God bless them and not her? Hadn’t she done everything right, everything expected? Waited to get her JD, her MRS. Why was she still waiting on her happily ever after? Andrew knuckled tears from her cheeks, his eyes filled with such tender disappointment, as he reminded her she was better than that, a woman of God—above such pretty, elitist notions. She bowed her head then. She listened as he prayed.
But sometimes, Lord. Sometimes.
The snow was blackened by automobile exhaust and the corpse, while alive, had been known as Opposable Thumb. As the stout man knelt and mumbled a prayer the small boy looked on. (I vaguely recalled having watched Opposable Thumb’s burial on television, so it struck me as odd that the body could be there in this other place.) The stout man stood up, leaning over the corpse and speaking words which, again, I couldn’t make out. I could, however, see that the corpse’s head was made of plastic, somewhat like a doll’s…
Gary was a big boy, ugly and pale, with a nose like a peeled potato. I’m not just saying that because my ex-wife slept with him once. We all slept around. She slept with Larry, too, but I don’t have anything bad to say about Larry. I myself almost slept with Larry, he was irresistible, a beautiful man. Gary and Larry—these names have been changed to protect the innocent, but not mine: I am guilty.
For as long as we could remember we had been together in the house which established the center of the known world. When we were younger we woke in the mornings while it was still dark. Grandad would be clumping out of his back room and down the hall to the bathroom, phantom-like in his long underwear. He wore it because he was a farmer, which was why he got up before first light to do the chores. In the two iron beds in the attic room there were the four of us—Celia and Jenny, who were sisters, Anne and Katie, sisters too, like our mothers, who were sisters. Sometimes we watched each other, knew differences. But most of the time it was as though the four of us were one and we lived in days that gathered into one stream of time, undifferentiated and communal.
To live in the city of El Paso in those days was to hover at the edge of crushing and proximate cruelty, to safely fill the lungs with air steeped in horror. In news, in academic texts, in literature and art, El Paso’s twin city of Juárez was perpetually being presented as a place of murder and violence, a landscape of factories, maquiladoras, drug cartels, narcos, hit men, sicarios, delinquents, military, police, poverty, femicide, rape, kidnapping, disappearance, homicide, slaughter, massacre, shootings, gun fights, turf wars, mass graves, garbage dumps, impunity, corruption, decay, erosion, a hemispheric laboratory of social and economic horror. This representation—the narrative of a city irreparably fractured by its looming border, saddled with broken institutions and a terrorized populace—had become part and parcel of its legacy, the subconscious inheritance of all those who came into the city’s orbit.
From THE LINE BECOMES A RIVER by Francisco Cantu, to be published on February 6, 2018 by Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright (c) 2018 by Francisco Cantu.
I imagine my daddy’s mind
looks most like broken
dryer machines
scattered in a forest,
field mice living
in the leftover lint.
I imagine it looks
like stepped-on
syringes, too,
flies stooping
down to sop up
all the sweet.
Hours later, Temperance is leading a “Mommyhood: The Christian Way” workshop for unwed mothers. She takes deep breaths, still trying to channel her mother’s certitude that this child was meant to be, ordained. The mothers around her are lollipop young, mainly from the projects, and chockablock with children. She can almost look at them now and not hurt. Before, her ovaries would ache just to be in this room with so many women who seemed to get pregnant if you so much as blew on them. Shanice begat Shanice Jr. begat Lativia begat LaRenée begat Jamelia begat Jameka. Begat, begetting, begotten.
Temperance had shared these thorny thoughts with Andrew once—confession, allegedly good for the soul and all. She had whispered that night, but her grievances somehow echoed in the cloistered silence of their bedroom. Why, Andrew, why? Why would God bless them and not her? Hadn’t she done everything right, everything expected? Waited to get her JD, her MRS. Why was she still waiting on her happily ever after? Andrew knuckled tears from her cheeks, his eyes filled with such tender disappointment, as he reminded her she was better than that, a woman of God—above such pretty, elitist notions. She bowed her head then. She listened as he prayed.
But sometimes, Lord. Sometimes.
The snow was blackened by automobile exhaust and the corpse, while alive, had been known as Opposable Thumb. As the stout man knelt and mumbled a prayer the small boy looked on. (I vaguely recalled having watched Opposable Thumb’s burial on television, so it struck me as odd that the body could be there in this other place.) The stout man stood up, leaning over the corpse and speaking words which, again, I couldn’t make out. I could, however, see that the corpse’s head was made of plastic, somewhat like a doll’s…
Gary was a big boy, ugly and pale, with a nose like a peeled potato. I’m not just saying that because my ex-wife slept with him once. We all slept around. She slept with Larry, too, but I don’t have anything bad to say about Larry. I myself almost slept with Larry, he was irresistible, a beautiful man. Gary and Larry—these names have been changed to protect the innocent, but not mine: I am guilty.