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.
IV. On Graduate School
Grass for acres and trees tall,
Then, everywhere there should be
Some harvest to guard, sprouts
A building in which I am mistaken
For a broom, handled as such,
And given to the floor. To dust.
I am here to learn: that which fears me
Must be crow
In this hall of heavy doors
Where my body is a blemish.
I realize then that Wichu knows. Of course he knows. He was here, at this temple, outside of the pavilion with his mother, when Khamron got drafted years ago. He was here when the wealthier boys got taken out of the line. He was here when those same boys came back an hour later, took their places at the end of the lottery line, and—when their turns came—drew black card after black card after black card. Wichu had told me all about it the night of his brother’s draft. Although I had only half listened to him at the time, the memory of his voice comes back to me now in all its anger.
“Draft Day” from SIGHTSEEING © 2005 by Rattawaut Lapcharoensap; reprinted with the permission of the publisher, Grove Atlantic, Inc.
I feel I could eat women.
Driving alone, I’m hungry,
hawking bus stops and sidewalks.
Eyeballs grinding, I harden.
My mind, a bulging ice box.
My computer, a deep freeze.
The bingeing grows out of hand –
my wastebasket coughing up
the napkins hiding the bones.
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.
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.
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...
IV. On Graduate School
Grass for acres and trees tall,
Then, everywhere there should be
Some harvest to guard, sprouts
A building in which I am mistaken
For a broom, handled as such,
And given to the floor. To dust.
I am here to learn: that which fears me
Must be crow
In this hall of heavy doors
Where my body is a blemish.
I realize then that Wichu knows. Of course he knows. He was here, at this temple, outside of the pavilion with his mother, when Khamron got drafted years ago. He was here when the wealthier boys got taken out of the line. He was here when those same boys came back an hour later, took their places at the end of the lottery line, and—when their turns came—drew black card after black card after black card. Wichu had told me all about it the night of his brother’s draft. Although I had only half listened to him at the time, the memory of his voice comes back to me now in all its anger.
“Draft Day” from SIGHTSEEING © 2005 by Rattawaut Lapcharoensap; reprinted with the permission of the publisher, Grove Atlantic, Inc.
I feel I could eat women.
Driving alone, I’m hungry,
hawking bus stops and sidewalks.
Eyeballs grinding, I harden.
My mind, a bulging ice box.
My computer, a deep freeze.
The bingeing grows out of hand –
my wastebasket coughing up
the napkins hiding the bones.
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.
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.
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...