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.
The bluet is a small flower, creamy-throated, that grows in patches in New England lawns. The bluet (French pronunciation) is the shaggy cornflower, growing wild in France. “The Bluet” is a poem I wrote. The Bluet is a painting of Joan Mitchell’s. The thick hard blue runs and holds. All of the, broken-up pieces of sky, hard sky, soft sky. Today I’ll take Joan’s giant vision, running and holding, staring you down with beauty. Though I need reject none. Bluet. “Bloo-ay.”
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...
Fear the opera expert, he who knows everything, who puts your humble tastes to shame, who will criticize your recording of Turandot or even your affection for that vulgar opera, the opera queen who only like Monteverdi, the opera queen who doesn’t go to the Met anymore, the opera queen who can’t stand Sutherland, the opera queen who gave me his 1953 Callas Cetra Traviata because he said her voice was fingernails against a chalkboard, the opera queen who disagrees with the maestro’s tempi, the opera queen who hates Wagner or loves only Wagner, the opera queen who doesn’t recognize himself in this description, the opera queen who thinks homosexuality has nothing to do with opera, the opera queen who never has body odor but then, suddenly, unexpectedly, stinks, the opera queen who doesn’t come out to his mother because he says it will hurt her, the opera queen who loves the local production of Barbiere and the opera queen who makes fun of it, the opera queen who isn’t gay but seems gay because he has learned from opera queens how to be a connoisseur: the opera queen whose intense, phobic knowledge is a bludgeon.
There was an old buzka on Luther Street known as the Cat Woman, not because she kept cats but because she disposed of the neighborhood’s excess kittens. Fathers would bring them in cardboard boxes at night after the children were asleep and she would drown them in her wash machine. The wash machine was in the basement, an ancient model with a galvanized-metal tub that stood on legs and had a wringer. A thick cord connected it to a socket that hung from the ceiling and when she turned it on the light bulb in the basement would flicker and water begin to pour.
The tow truck lurched a few yards, dappling everyone with mud. Bobby’s ruined knee spurted a red arc. Then another. And another. The men watched, bewildered and afraid. They had slaughtered hogs in autumn and field-dressed deer in the woods. They’d seen mangled men dragged from the mines—crushed, turned blue from lack of oxygen, charred by a shaft fire. But none had watched a man slowly die.
Mountain tips soften after so much rain,
the wild guesses of birds blending with air
and the uppermost buds, with a godlike
promotion, burst open.
Especially beautiful
are the brown and drunken bats
who nosedive down the barnside,
not quite earthbroken.
The bluet is a small flower, creamy-throated, that grows in patches in New England lawns. The bluet (French pronunciation) is the shaggy cornflower, growing wild in France. “The Bluet” is a poem I wrote. The Bluet is a painting of Joan Mitchell’s. The thick hard blue runs and holds. All of the, broken-up pieces of sky, hard sky, soft sky. Today I’ll take Joan’s giant vision, running and holding, staring you down with beauty. Though I need reject none. Bluet. “Bloo-ay.”
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...
Fear the opera expert, he who knows everything, who puts your humble tastes to shame, who will criticize your recording of Turandot or even your affection for that vulgar opera, the opera queen who only like Monteverdi, the opera queen who doesn’t go to the Met anymore, the opera queen who can’t stand Sutherland, the opera queen who gave me his 1953 Callas Cetra Traviata because he said her voice was fingernails against a chalkboard, the opera queen who disagrees with the maestro’s tempi, the opera queen who hates Wagner or loves only Wagner, the opera queen who doesn’t recognize himself in this description, the opera queen who thinks homosexuality has nothing to do with opera, the opera queen who never has body odor but then, suddenly, unexpectedly, stinks, the opera queen who doesn’t come out to his mother because he says it will hurt her, the opera queen who loves the local production of Barbiere and the opera queen who makes fun of it, the opera queen who isn’t gay but seems gay because he has learned from opera queens how to be a connoisseur: the opera queen whose intense, phobic knowledge is a bludgeon.
There was an old buzka on Luther Street known as the Cat Woman, not because she kept cats but because she disposed of the neighborhood’s excess kittens. Fathers would bring them in cardboard boxes at night after the children were asleep and she would drown them in her wash machine. The wash machine was in the basement, an ancient model with a galvanized-metal tub that stood on legs and had a wringer. A thick cord connected it to a socket that hung from the ceiling and when she turned it on the light bulb in the basement would flicker and water begin to pour.
The tow truck lurched a few yards, dappling everyone with mud. Bobby’s ruined knee spurted a red arc. Then another. And another. The men watched, bewildered and afraid. They had slaughtered hogs in autumn and field-dressed deer in the woods. They’d seen mangled men dragged from the mines—crushed, turned blue from lack of oxygen, charred by a shaft fire. But none had watched a man slowly die.
Mountain tips soften after so much rain,
the wild guesses of birds blending with air
and the uppermost buds, with a godlike
promotion, burst open.
Especially beautiful
are the brown and drunken bats
who nosedive down the barnside,
not quite earthbroken.