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.
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.
We don’t have the remotest idea of what we might find or do there, but America—Canada in our minds is automatically subsumed under that category—has for us the old fabulous associations: streets paved with gold, the goose that laid the golden egg. There is also that book about Canada from the war. And, my father reminds my mother, whose impulses really draw her toward Israel, in Canada there is no war, and there never will be. Canada is the land of peace. In Israel, there’s a constant danger of war, and they take even girls into the army. Does she want her daughters to end up on a battlefield? Does she herself want to go through a war again?
Adrian Piper took photos of her naked body while reading The Critique of Pure Reason to make sure her body was still there. I don’t want to talk about “the black body.” Where is such a thing? I am not inside of anything. I want the monad. I want integration, but not the kind that requires “white” and “black” to participate. Integration as the move from a dualist Cartesian world to the monist’s world, so that transcendence is a misnomer—there being nothing to get beyond, to get above or around. In this single world-substance, everywhere is home; everything is forever; and everyone is inalienable.
And so with the last of my birthday cash
I ordered the Abracadabra Kit.
The ad promised rivals would flee me in terror
and pictured grownups swooning (eyes X’s)
as a boy in tails drove swords through his sister.
I checked the mailbox every day and dreamed
the damage I’d do the Knights, the magic words
I’d speak to blanket them with zits, shrivel
their cocks, cripple their families and pets.
The kit came and of course was crap.
My father believes that the United States is destined one day to be engulfed in a socialist revolution. All revolutions are bloody, he says, but this one will be the bloodiest of them all. The working class—which includes me—will at some point in the not-so-distant future decide to put down the tools of our trade, pour into the streets, beat the police into submission, take over the means of production, and usher in a new epoch—the final epoch—of peace and equality. This revolution is not only inevitable, it is imminent. It is not only imminent, it is quite imminent. And when the time comes, my father will lead it.
Faye fell to the deck in slow motion. It took forever for this part to end. “Hold still,” he warned as he cut her out of her clothes, the blade cool against her belly. “You won’t be needing these,” he said, and she knew rape wasn’t the last thing. She knew he intended to kill. That was next, when he had done with her. It meant something to him to know he was disgusting her now, hurting her, terrorizing her, it was why he did it, why he kept his eyes on her face, as he labored over her, his good arm corded and trembling, the point of the knife at her throat. She stared up past him to the square of sky framed by the hatch, waiting for it to be over, this now, waiting for the next thing, her next chance, her last chance.
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.
We don’t have the remotest idea of what we might find or do there, but America—Canada in our minds is automatically subsumed under that category—has for us the old fabulous associations: streets paved with gold, the goose that laid the golden egg. There is also that book about Canada from the war. And, my father reminds my mother, whose impulses really draw her toward Israel, in Canada there is no war, and there never will be. Canada is the land of peace. In Israel, there’s a constant danger of war, and they take even girls into the army. Does she want her daughters to end up on a battlefield? Does she herself want to go through a war again?
Adrian Piper took photos of her naked body while reading The Critique of Pure Reason to make sure her body was still there. I don’t want to talk about “the black body.” Where is such a thing? I am not inside of anything. I want the monad. I want integration, but not the kind that requires “white” and “black” to participate. Integration as the move from a dualist Cartesian world to the monist’s world, so that transcendence is a misnomer—there being nothing to get beyond, to get above or around. In this single world-substance, everywhere is home; everything is forever; and everyone is inalienable.
And so with the last of my birthday cash
I ordered the Abracadabra Kit.
The ad promised rivals would flee me in terror
and pictured grownups swooning (eyes X’s)
as a boy in tails drove swords through his sister.
I checked the mailbox every day and dreamed
the damage I’d do the Knights, the magic words
I’d speak to blanket them with zits, shrivel
their cocks, cripple their families and pets.
The kit came and of course was crap.
My father believes that the United States is destined one day to be engulfed in a socialist revolution. All revolutions are bloody, he says, but this one will be the bloodiest of them all. The working class—which includes me—will at some point in the not-so-distant future decide to put down the tools of our trade, pour into the streets, beat the police into submission, take over the means of production, and usher in a new epoch—the final epoch—of peace and equality. This revolution is not only inevitable, it is imminent. It is not only imminent, it is quite imminent. And when the time comes, my father will lead it.
Faye fell to the deck in slow motion. It took forever for this part to end. “Hold still,” he warned as he cut her out of her clothes, the blade cool against her belly. “You won’t be needing these,” he said, and she knew rape wasn’t the last thing. She knew he intended to kill. That was next, when he had done with her. It meant something to him to know he was disgusting her now, hurting her, terrorizing her, it was why he did it, why he kept his eyes on her face, as he labored over her, his good arm corded and trembling, the point of the knife at her throat. She stared up past him to the square of sky framed by the hatch, waiting for it to be over, this now, waiting for the next thing, her next chance, her last chance.