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.”
In this wet season my gone mother
climbs back again
and everything here smells gutted—
bloodtide, sea grapes in thick bloom,
our smashed plates and teacups. Dismantling
this grey shoreline for some kind of home, scared
orphans out bleating with the mongrels,
all of us starved
for something reclaimable. What chases them,
her barefoot rain, stains my unopened petunia,
shined church shoes, our black words, our hands.
I’ll catch the day creep in, her dirt marking my father’s
neck, oil-dreck steeped dark to every collar,
her tar this same fish odor I am washing.
I know I am one of them. The emptied.
At Bob’s Big Boy, one day in the summer, my mother and I pressed together in the phone booth and emptied her purse out on the metal ledge. There were hundreds of scraps of paper, pencils, leaking pens, scuffed makeup tubes, brushes woven with a fabric of lint and hair, a bra, and finally, my mother’s brown leather address book, with the pages falling out. We wanted to call my father in Las Vegas. It was already over a year since we’d flown there. The number was written, carefully, in brown ink.
She remembers sensing—almost smelling—that he wanted to kill her. Or that for a split second the thought was spreading itself in his mind. She remembers the terrible little theater of his eyes, which she had always thought to be blue. But looking at them in the afternoon glare, she saw that they weren’t even a little bit blue. They were grey.
Mamá, you left me. Papá, you left me.
Abuelos, I left you. Tías, I left you.
Cousins, I’m here. Cousins, I left you.
Tías, welcome. Abuelos, we’ll be back soon.
Mamá, let’s return. Papá ¿por qué?
Mamá, marry for papers. Papá, marry for papers.
Tías, abuelos, cousins, be careful.
I won’t marry for papers. I might marry for papers.
I won’t be back soon. I can’t vote anywhere,
I will etch visas on toilet paper and throw them from a lighthouse.
As the icon passes on its route through the crowds, pilgrims struggle to get close enough to touch the pavilion, running their hands ardently over its sides. Women walk toward it on their knees. Hundreds of these pilgrims have waited all night in the courtyard of the church, hoping for dreams of the Virgin. Families who want a favor from the Virgin often designate a female member to come to Tinos and crawl to the church on her knees up the main street, while motorcycles and cars speed around her. The shots of the women performing this act make them look like amputees, as if the logic of this beseeching forces them to impersonate the disabled in order to be healed.
“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.”
In this wet season my gone mother
climbs back again
and everything here smells gutted—
bloodtide, sea grapes in thick bloom,
our smashed plates and teacups. Dismantling
this grey shoreline for some kind of home, scared
orphans out bleating with the mongrels,
all of us starved
for something reclaimable. What chases them,
her barefoot rain, stains my unopened petunia,
shined church shoes, our black words, our hands.
I’ll catch the day creep in, her dirt marking my father’s
neck, oil-dreck steeped dark to every collar,
her tar this same fish odor I am washing.
I know I am one of them. The emptied.
At Bob’s Big Boy, one day in the summer, my mother and I pressed together in the phone booth and emptied her purse out on the metal ledge. There were hundreds of scraps of paper, pencils, leaking pens, scuffed makeup tubes, brushes woven with a fabric of lint and hair, a bra, and finally, my mother’s brown leather address book, with the pages falling out. We wanted to call my father in Las Vegas. It was already over a year since we’d flown there. The number was written, carefully, in brown ink.
She remembers sensing—almost smelling—that he wanted to kill her. Or that for a split second the thought was spreading itself in his mind. She remembers the terrible little theater of his eyes, which she had always thought to be blue. But looking at them in the afternoon glare, she saw that they weren’t even a little bit blue. They were grey.
Mamá, you left me. Papá, you left me.
Abuelos, I left you. Tías, I left you.
Cousins, I’m here. Cousins, I left you.
Tías, welcome. Abuelos, we’ll be back soon.
Mamá, let’s return. Papá ¿por qué?
Mamá, marry for papers. Papá, marry for papers.
Tías, abuelos, cousins, be careful.
I won’t marry for papers. I might marry for papers.
I won’t be back soon. I can’t vote anywhere,
I will etch visas on toilet paper and throw them from a lighthouse.
As the icon passes on its route through the crowds, pilgrims struggle to get close enough to touch the pavilion, running their hands ardently over its sides. Women walk toward it on their knees. Hundreds of these pilgrims have waited all night in the courtyard of the church, hoping for dreams of the Virgin. Families who want a favor from the Virgin often designate a female member to come to Tinos and crawl to the church on her knees up the main street, while motorcycles and cars speed around her. The shots of the women performing this act make them look like amputees, as if the logic of this beseeching forces them to impersonate the disabled in order to be healed.