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 leave the space between the houses uncrossed. You rarely go across the street, which is forty feet wide.
You are grateful for the distance. It is as if each house on your block stood on its own enchanted island, fifty feet wide by one hundred feet long.
People come and go from it, your parents mostly and your friends. Your parents arrive like pilgrims.
But the island is remote. You occasionally hear the sounds of anger. You almost never hear the sounds of love.
You hear, always at night, the shifting of the uprights, the sagging of ceiling joists, and the unpredictable ticking of the gas heater.
By the time he was infamous enough to sell out bullfighting arenas, the Caruso C was a sort of burlesque number. He would inch to it from the frequencies below, nearly embrace the note, and then flat a bit before trumpeting, C! with full tenor fury. Toscanini chided him for grandstanding, but this in-and-out tease worked well with German and Latin American houses, which particularly enjoyed the punishment of a loud flirtation.
Like most of the fight world’s habits, hand wrapping is both practical and ritual. Done properly, it protects the hands from damage without giving a fighter an unfair advantage. Like boxing gloves or a football helmet, wrapping functions as both armor and sword, a protective measure that allows you to hit harder and more frequently than you could without it. One of the officials murmured, “That’s beautiful.” Colonna said “Thank you” without looking up from his work.
“Three words,” Gaz said. “Motion. Picture. History.” He got up, circled the table as he explained his movie: en route to Earth from a distant solar system, the crew of the Valedictorian crash-lands on a hostile planet inhabited by bat-winged pygmies, lobster-clawed cannibals, two-headed vampires. “That’s where your stuff comes in. I’m going to splice up your movies with mine.” He went on about the mixing-up of genres, chop-suey cinema, bringing together East and West. “We’d be the ambassadors of international film!”
“What’s your thinking on this?” Checkers asked me in Tagalog. “Is this man serious? Is he just an American fool?”
“Ask how much he’ll pay,” I said, “get twenty percent more, give him the movies, and show him to the door.”
I’m good enough to get the once-over in the bar at The Restaurant, I see them thinking my
smallness is appealing, my ass and face are cute enough, I see them thinking that short haircut
might be sexy. I’m always in a backless cocktail dress and heels, I’m flat chested and a tad
muscular so they ask me if I’m a dancer and say Call me sometime, let’s have a drink. It took
me a while to understand you’re supposed to work that for your money but you can let the
willingness fall right off your face when you turn around. It took me a while to understand that of
course men fling their entreaties out in swarms, like schools of sperm, hoping one will stick.
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.
You leave the space between the houses uncrossed. You rarely go across the street, which is forty feet wide.
You are grateful for the distance. It is as if each house on your block stood on its own enchanted island, fifty feet wide by one hundred feet long.
People come and go from it, your parents mostly and your friends. Your parents arrive like pilgrims.
But the island is remote. You occasionally hear the sounds of anger. You almost never hear the sounds of love.
You hear, always at night, the shifting of the uprights, the sagging of ceiling joists, and the unpredictable ticking of the gas heater.
By the time he was infamous enough to sell out bullfighting arenas, the Caruso C was a sort of burlesque number. He would inch to it from the frequencies below, nearly embrace the note, and then flat a bit before trumpeting, C! with full tenor fury. Toscanini chided him for grandstanding, but this in-and-out tease worked well with German and Latin American houses, which particularly enjoyed the punishment of a loud flirtation.
Like most of the fight world’s habits, hand wrapping is both practical and ritual. Done properly, it protects the hands from damage without giving a fighter an unfair advantage. Like boxing gloves or a football helmet, wrapping functions as both armor and sword, a protective measure that allows you to hit harder and more frequently than you could without it. One of the officials murmured, “That’s beautiful.” Colonna said “Thank you” without looking up from his work.
“Three words,” Gaz said. “Motion. Picture. History.” He got up, circled the table as he explained his movie: en route to Earth from a distant solar system, the crew of the Valedictorian crash-lands on a hostile planet inhabited by bat-winged pygmies, lobster-clawed cannibals, two-headed vampires. “That’s where your stuff comes in. I’m going to splice up your movies with mine.” He went on about the mixing-up of genres, chop-suey cinema, bringing together East and West. “We’d be the ambassadors of international film!”
“What’s your thinking on this?” Checkers asked me in Tagalog. “Is this man serious? Is he just an American fool?”
“Ask how much he’ll pay,” I said, “get twenty percent more, give him the movies, and show him to the door.”
I’m good enough to get the once-over in the bar at The Restaurant, I see them thinking my
smallness is appealing, my ass and face are cute enough, I see them thinking that short haircut
might be sexy. I’m always in a backless cocktail dress and heels, I’m flat chested and a tad
muscular so they ask me if I’m a dancer and say Call me sometime, let’s have a drink. It took
me a while to understand you’re supposed to work that for your money but you can let the
willingness fall right off your face when you turn around. It took me a while to understand that of
course men fling their entreaties out in swarms, like schools of sperm, hoping one will stick.
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.