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.
We unyoke owl pellets from marrow
in desert meadow. His mouth a pigeon eye,
a torch, a womb turned flower. He, still a boy
dug from cactus skull, undresses into bark
beetles. He unlearns how to hold a gist
with my hand.
At the end of the hall, through the partially opened waiting-room door, she saw the hemline of a black dress, the gray of once-white tennis shoes, and a green hijab that, rather than covering the long black hair, held the broken arm of a young woman who was made of bird bones and calcium deficiency, who believed this to be her twenty-second broken bone, when in fact it was merely her twenty-first.
And the body is beautifully there, like hoarfrost.
Tears on its face now glimmering like dimes
falling from a slot machine, or a stream, thought lost,
that breaks through fresh snow at wintertime.
From Brother Salvage, posted by permission of the University of Pittsburgh Press
—Albert was down below in the trenches in Verdun, was how he started it.—Faith, he was, with rats crawling all over him and soldiers dead and dying and screaming beside him in all the smoke and the blood and the corpses piling up, but Albert came back to us alive and in one piece but not too long after he was back he happened to be walking from Powers one night and the devil appeared to him in the shape of a ten-foot pig, stepped from behind a tree on Garvey’s ditch on the hill road—
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.
When I say my wives are cages, I don’t mean I’m a bird.
Collapsible shelves, they hide their usefulness when not
in use. All my wives contain terrariums: terrible and fetid
atmospheres in which their salamander selves linger atop
damp rocks. Their hands are damp as the tissues they ball
in their hands, though none of my wives could make a fist,
not even if I asked, no, not even if I commanded them to,
an amusing idea I must someday revisit. My wives are like
the Small Mammal House at the zoo, their rooms kept dark
so visitors may view their nocturnal truths, that anonymous
wakefulness we sleepers do not care to know. None of my
wives are like lanterns, nor do their ribs sing with canaries...
We unyoke owl pellets from marrow
in desert meadow. His mouth a pigeon eye,
a torch, a womb turned flower. He, still a boy
dug from cactus skull, undresses into bark
beetles. He unlearns how to hold a gist
with my hand.
At the end of the hall, through the partially opened waiting-room door, she saw the hemline of a black dress, the gray of once-white tennis shoes, and a green hijab that, rather than covering the long black hair, held the broken arm of a young woman who was made of bird bones and calcium deficiency, who believed this to be her twenty-second broken bone, when in fact it was merely her twenty-first.
And the body is beautifully there, like hoarfrost.
Tears on its face now glimmering like dimes
falling from a slot machine, or a stream, thought lost,
that breaks through fresh snow at wintertime.
From Brother Salvage, posted by permission of the University of Pittsburgh Press
—Albert was down below in the trenches in Verdun, was how he started it.—Faith, he was, with rats crawling all over him and soldiers dead and dying and screaming beside him in all the smoke and the blood and the corpses piling up, but Albert came back to us alive and in one piece but not too long after he was back he happened to be walking from Powers one night and the devil appeared to him in the shape of a ten-foot pig, stepped from behind a tree on Garvey’s ditch on the hill road—
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.
When I say my wives are cages, I don’t mean I’m a bird.
Collapsible shelves, they hide their usefulness when not
in use. All my wives contain terrariums: terrible and fetid
atmospheres in which their salamander selves linger atop
damp rocks. Their hands are damp as the tissues they ball
in their hands, though none of my wives could make a fist,
not even if I asked, no, not even if I commanded them to,
an amusing idea I must someday revisit. My wives are like
the Small Mammal House at the zoo, their rooms kept dark
so visitors may view their nocturnal truths, that anonymous
wakefulness we sleepers do not care to know. None of my
wives are like lanterns, nor do their ribs sing with canaries...