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 game consisted of a single question: If you had to fall in love with (by which Paul meant have sex with) one person in this elevator, who would it be? He played the elevator game in every class he ever took, on the bus, in straight bars, in subway cars, in waiting rooms, free clinics, the line at a movie theater, dinner out with a group of friends-of-friends. He sometimes played the elevator game with Jane, a silent communion of eyebrows and squints or—more likely—a fast-talking, low-murmured loop around the bar, marking targets. Jane was his favorite companion for this; she didn’t judge. Most of his life he had played alone.
I love American newspapers, the way each section
is folded independently and believes it owns
the world. There’s this brief item in the inter-
national pages: the Chinese government has posted
signs in Tiananmen Square; forbidding laughter.
I’m sure the plastic surgeon would approve, he’d say
the Chinese will look young much longer, their faces
unnaturally smooth, but what I see (although
no photograph accompanies the story) is laughter
busting inside them. I go back to the sports section
and a closeup of a rookie in mind-swing, his face
keeping all the wrong emotions in check.
Roy stored his ammunition in a metal box he kept hidden in the closet. As with everything else hidden in the apartment, I knew exactly where to find it. There was a layer of loose .22 rounds on the bottom of the box under shells of bigger caliber, dropped there by the handful the way men drop pennies on their dressers at night. I took some and put them in a hiding place of my own. With these I started loading up the rifle. Hammer cocked, a round in the chamber, finger resting lightly on the trigger, I drew a bead on whoever walked by—women pushing strollers, children, garbage collectors laughing and calling to each other, anyone—and as they passed under my window I sometimes had to bite my lip to keep from laughing in the ecstasy of my power over them, and at their absurd and innocent belief that they were safe.
Any time Manny wanted to sell a gun or a big load of weed he’d hand the deal over to one of his main boys. Manny called Chico, Beto, and Paco, then Chevy and Rafa, his right hands cause they was ready to slice open an enemy or blood up a buyer that didn’t pay up, and so they got the juiciest sheep and the most money. Got the most room on the street. The rest of the Lobos was just taggers or third-raters. Tagger babies are the locos who sprayed our sets all over town so people know we own it. They’d dog around here with their spray paint cans and their fake-tough faces, bragging how they did a job up on the freeway signs or almost got busted by the police for messing up a mural. “Hey, homes!” they’d laugh out to each other. “You see the job I did? Got up twenty feet that time!”
LOCAS © 1997 by Yxta Maya Murray; reprinted with the permission of the publisher, Grove Atlantic, Inc.
I like a crusty bread. Last spring, when the man who sold my son the satellite dish told him that the signal wasn’t coming in good because of the big old elm tree across the road by the house, that it was getting in the way of the reception, everyone—my son, my daughter-in-law, my grandsons, and then, because everyone else was, even the man—looked at me. I loved that tree. It was always there. It would always make me feel good to walk in the yard through its patterned shadow on my way into the house. But then, across the road, there was the satellite dish. I said they could chop the tree down but I wanted every bit of wood from it cut and stacked in a pile by itself. And though I hadn’t done it for years, since we’d got an electric stove and a furnace, I started back using the old wood stove, which we’d left in the kitchen mostly for looks. It’s better to cook bread in a wood stove anyway. You can tell the difference not just in the crust but also in taste.
I know snow as soap opera, the comedy
of white heap shovelled into strophe
and anti-strophe for long blocks – snow
as envy, a shaken blanket making a lasting
echo over clean avenues.
The game consisted of a single question: If you had to fall in love with (by which Paul meant have sex with) one person in this elevator, who would it be? He played the elevator game in every class he ever took, on the bus, in straight bars, in subway cars, in waiting rooms, free clinics, the line at a movie theater, dinner out with a group of friends-of-friends. He sometimes played the elevator game with Jane, a silent communion of eyebrows and squints or—more likely—a fast-talking, low-murmured loop around the bar, marking targets. Jane was his favorite companion for this; she didn’t judge. Most of his life he had played alone.
I love American newspapers, the way each section
is folded independently and believes it owns
the world. There’s this brief item in the inter-
national pages: the Chinese government has posted
signs in Tiananmen Square; forbidding laughter.
I’m sure the plastic surgeon would approve, he’d say
the Chinese will look young much longer, their faces
unnaturally smooth, but what I see (although
no photograph accompanies the story) is laughter
busting inside them. I go back to the sports section
and a closeup of a rookie in mind-swing, his face
keeping all the wrong emotions in check.
Roy stored his ammunition in a metal box he kept hidden in the closet. As with everything else hidden in the apartment, I knew exactly where to find it. There was a layer of loose .22 rounds on the bottom of the box under shells of bigger caliber, dropped there by the handful the way men drop pennies on their dressers at night. I took some and put them in a hiding place of my own. With these I started loading up the rifle. Hammer cocked, a round in the chamber, finger resting lightly on the trigger, I drew a bead on whoever walked by—women pushing strollers, children, garbage collectors laughing and calling to each other, anyone—and as they passed under my window I sometimes had to bite my lip to keep from laughing in the ecstasy of my power over them, and at their absurd and innocent belief that they were safe.
Any time Manny wanted to sell a gun or a big load of weed he’d hand the deal over to one of his main boys. Manny called Chico, Beto, and Paco, then Chevy and Rafa, his right hands cause they was ready to slice open an enemy or blood up a buyer that didn’t pay up, and so they got the juiciest sheep and the most money. Got the most room on the street. The rest of the Lobos was just taggers or third-raters. Tagger babies are the locos who sprayed our sets all over town so people know we own it. They’d dog around here with their spray paint cans and their fake-tough faces, bragging how they did a job up on the freeway signs or almost got busted by the police for messing up a mural. “Hey, homes!” they’d laugh out to each other. “You see the job I did? Got up twenty feet that time!”
LOCAS © 1997 by Yxta Maya Murray; reprinted with the permission of the publisher, Grove Atlantic, Inc.
I like a crusty bread. Last spring, when the man who sold my son the satellite dish told him that the signal wasn’t coming in good because of the big old elm tree across the road by the house, that it was getting in the way of the reception, everyone—my son, my daughter-in-law, my grandsons, and then, because everyone else was, even the man—looked at me. I loved that tree. It was always there. It would always make me feel good to walk in the yard through its patterned shadow on my way into the house. But then, across the road, there was the satellite dish. I said they could chop the tree down but I wanted every bit of wood from it cut and stacked in a pile by itself. And though I hadn’t done it for years, since we’d got an electric stove and a furnace, I started back using the old wood stove, which we’d left in the kitchen mostly for looks. It’s better to cook bread in a wood stove anyway. You can tell the difference not just in the crust but also in taste.
I know snow as soap opera, the comedy
of white heap shovelled into strophe
and anti-strophe for long blocks – snow
as envy, a shaken blanket making a lasting
echo over clean avenues.