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.
“You aren’t one of those voodoo inspectors, are you? Don’t need to see anything, you just feel it, right? I heard Jimmy make jokes about you witch doctors.”
She says, “Intuitionist.” Lila Mae rubs the ballpoint of the pen to get the ink flowing. The W of her initials belongs to a ghost alphabet.
The super grins. “If that’s the game you want to play,” he says, “I guess you got me on the ropes.” There are three twenty-dollar bills in his oily palm. He leans over to Lila Mae and places the money in her breast pocket. Pats it down. “I haven’t ever seen a woman elevator inspector before, let alone a colored one, but I guess they teach you all the same tricks.”
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.
BLIND LOUIE: Lissen I’m a be straight up with you, Diane, I need money, as much as you can spare - now – see, I’m puttin’ my shit out heah – ‘cause I’m sick, man, real sick – I gotta go cop – I’m sorry to be like this but I can lie and say I need it for somethin’ else y’know stand here, and try and cop a plea and perpetrate a fraud. I’m not doin’ that, Diane. I’m a junkie.
In 1959, Prentice Ross astounded his parents by enrolling in aviation school instead of going to Yale. Of course, being generous and humane people, Prentice’s parents didn’t have anything against pilots per se. It just happened that they had never met one, nor had they ever even thought of how a person became one. In fact, they knew not a single person who drove any machine at all (for a living, that is), so they were at a loss when they tried to imagine what their son’s future would be like.
For me, to be a feminist is to answer the question “Are women human?” with a yes. It is not about whether women are better than, worse than or identical with men. And it’s certainly not about trading personal liberty – abortion, divorce, sexual self-expression—for social protection as wives and mothers, as pro-life feminists propose. It’s about justice, fairness and access to the broad range of human experience. It’s about women consulting their own well-being and being judged as individuals rather than as members of a class with one personality, one social function, one road to happiness. It’s about women having intrinsic value as persons rather than contingent value as a means to an end for others: fetuses, children, “the family,” men.
There was a space across which you and your shadow, pacing,
broke,
and around you pockets of shadow, sucking, shutting.
By now the talk had changed.
There was a liquid of wall and stove and space-behind-the-stove.
And x where the mirror had been.
And x where the window had been.
And x where my hand slid over the tabletop breaking a glass.
There were shadows in the shadows, and in there were cuts.
“You aren’t one of those voodoo inspectors, are you? Don’t need to see anything, you just feel it, right? I heard Jimmy make jokes about you witch doctors.”
She says, “Intuitionist.” Lila Mae rubs the ballpoint of the pen to get the ink flowing. The W of her initials belongs to a ghost alphabet.
The super grins. “If that’s the game you want to play,” he says, “I guess you got me on the ropes.” There are three twenty-dollar bills in his oily palm. He leans over to Lila Mae and places the money in her breast pocket. Pats it down. “I haven’t ever seen a woman elevator inspector before, let alone a colored one, but I guess they teach you all the same tricks.”
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.
BLIND LOUIE: Lissen I’m a be straight up with you, Diane, I need money, as much as you can spare - now – see, I’m puttin’ my shit out heah – ‘cause I’m sick, man, real sick – I gotta go cop – I’m sorry to be like this but I can lie and say I need it for somethin’ else y’know stand here, and try and cop a plea and perpetrate a fraud. I’m not doin’ that, Diane. I’m a junkie.
In 1959, Prentice Ross astounded his parents by enrolling in aviation school instead of going to Yale. Of course, being generous and humane people, Prentice’s parents didn’t have anything against pilots per se. It just happened that they had never met one, nor had they ever even thought of how a person became one. In fact, they knew not a single person who drove any machine at all (for a living, that is), so they were at a loss when they tried to imagine what their son’s future would be like.
For me, to be a feminist is to answer the question “Are women human?” with a yes. It is not about whether women are better than, worse than or identical with men. And it’s certainly not about trading personal liberty – abortion, divorce, sexual self-expression—for social protection as wives and mothers, as pro-life feminists propose. It’s about justice, fairness and access to the broad range of human experience. It’s about women consulting their own well-being and being judged as individuals rather than as members of a class with one personality, one social function, one road to happiness. It’s about women having intrinsic value as persons rather than contingent value as a means to an end for others: fetuses, children, “the family,” men.
There was a space across which you and your shadow, pacing,
broke,
and around you pockets of shadow, sucking, shutting.
By now the talk had changed.
There was a liquid of wall and stove and space-behind-the-stove.
And x where the mirror had been.
And x where the window had been.
And x where my hand slid over the tabletop breaking a glass.
There were shadows in the shadows, and in there were cuts.