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.
On the way home, going,
with the hill & mammoth clouds
behind me, rushing to the house
before the rain, those beautiful Pakistani girls,
their faces happy as poppies, I thought, those girls
rushing home as I was rushing home
to beat the first small pieces
of rain falling down
like nickels in departing light. There
was the laughing of the beautiful girls,
shrieking gulls, five or six of them (depending
on whether I count myself), the bright
& shining planets of their dresses
lifting, just so, in the wind. & their black hairs.
& the black sound of horses, horses
hoofing it home, the click
& clop of their patent leather hooves—Still, it touches
my ear, this sound. I touch
my heart. I can’t stop touching
my heart & saying, Today is my birthday,
you see? For the beautiful clamor of planets
dressed as girls who, running home, have heads.
Whose heads swing black night, running home
on the black feet of horses, from the rain.
Now I understand. Today is my birthday.
It is Thursday, my day. My black day.
The game consisted of a single question: If you had to fall in love with (by which Paul meant have sex with) one person in this elevator, who would it be? He played the elevator game in every class he ever took, on the bus, in straight bars, in subway cars, in waiting rooms, free clinics, the line at a movie theater, dinner out with a group of friends-of-friends. He sometimes played the elevator game with Jane, a silent communion of eyebrows and squints or—more likely—a fast-talking, low-murmured loop around the bar, marking targets. Jane was his favorite companion for this; she didn’t judge. Most of his life he had played alone.
I decided the caterpillar was too stupid to live. I put it into the carabid beetle’s container. The caterpillar was much larger, but it had no means of defense. The carabid sliced into it and lapped at its leaking blood. Because the caterpillar was so big, the carabid had to repeat his attack eight or ten times. The caterpillar crawled away frantically for the first few wounds, but it was so slow that its movements hardly inconvenienced the beetle drinking from its bleeding flank. After ten minutes or so the caterpillar lay still. Its jade flesh turned black as the beetle chewed and drained it.
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.
What you type and submit appears to you attributed to You. What he replies and enters comes from Partner. There is, as it turns out, a lot to say while watching Partner look at you watching. He is, to begin with, in a room of some kind, particular, contingent, “real.” With art and clocks and books and pillows and cigarettes and mail and daylight, or lamplight, with a bed or desk or basement sofa, with doors you can ask him to open, bags he may or may not empty, of content you may deduce about. The bottoms of his socks are dirty. You give it to him that his socks are dirty, that his door is ajar, that his grin is telling. “Partner: Are you for real?”
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.
On the way home, going,
with the hill & mammoth clouds
behind me, rushing to the house
before the rain, those beautiful Pakistani girls,
their faces happy as poppies, I thought, those girls
rushing home as I was rushing home
to beat the first small pieces
of rain falling down
like nickels in departing light. There
was the laughing of the beautiful girls,
shrieking gulls, five or six of them (depending
on whether I count myself), the bright
& shining planets of their dresses
lifting, just so, in the wind. & their black hairs.
& the black sound of horses, horses
hoofing it home, the click
& clop of their patent leather hooves—Still, it touches
my ear, this sound. I touch
my heart. I can’t stop touching
my heart & saying, Today is my birthday,
you see? For the beautiful clamor of planets
dressed as girls who, running home, have heads.
Whose heads swing black night, running home
on the black feet of horses, from the rain.
Now I understand. Today is my birthday.
It is Thursday, my day. My black day.
The game consisted of a single question: If you had to fall in love with (by which Paul meant have sex with) one person in this elevator, who would it be? He played the elevator game in every class he ever took, on the bus, in straight bars, in subway cars, in waiting rooms, free clinics, the line at a movie theater, dinner out with a group of friends-of-friends. He sometimes played the elevator game with Jane, a silent communion of eyebrows and squints or—more likely—a fast-talking, low-murmured loop around the bar, marking targets. Jane was his favorite companion for this; she didn’t judge. Most of his life he had played alone.
I decided the caterpillar was too stupid to live. I put it into the carabid beetle’s container. The caterpillar was much larger, but it had no means of defense. The carabid sliced into it and lapped at its leaking blood. Because the caterpillar was so big, the carabid had to repeat his attack eight or ten times. The caterpillar crawled away frantically for the first few wounds, but it was so slow that its movements hardly inconvenienced the beetle drinking from its bleeding flank. After ten minutes or so the caterpillar lay still. Its jade flesh turned black as the beetle chewed and drained it.
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.
What you type and submit appears to you attributed to You. What he replies and enters comes from Partner. There is, as it turns out, a lot to say while watching Partner look at you watching. He is, to begin with, in a room of some kind, particular, contingent, “real.” With art and clocks and books and pillows and cigarettes and mail and daylight, or lamplight, with a bed or desk or basement sofa, with doors you can ask him to open, bags he may or may not empty, of content you may deduce about. The bottoms of his socks are dirty. You give it to him that his socks are dirty, that his door is ajar, that his grin is telling. “Partner: Are you for real?”
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.