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.
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.
The Banker trails behind me with his abacus
and crowd of yes-men. I hear
the gold coins rub together in his vest.
The stoplights remind me. And the scars
on my ankles and the nails in my mouth.
Once my father pointed his finger at me.
Once my mother kissed me on the lips in winter.
I could have been a man like those men
on the roof, eyes narrowed at me
like diamond cutters. In surgical gowns
and crucifix tie clips, tight bands of wires
wound beneath their chests –
they remind me of me. All in sync
they cup their ears to the antenna.
Quiet. The Jew Levine is coming to collect
with his chisels and his sack of flesh.
Daddy was often eager to play catch, since he felt society expected this from a loving, caring father. A confidence that soared and a glovehand that fell, still there was no baseball near either. Duplicity has killed more black men than gin. In a southpaw, what they appreciate most is this sort of "live arm." From his mouth words rushed like richly fed rapids, leaving him ever vulnerable to ascription.
Kenosha is hideous behind us, cloaked by this cloud that hangs
On the pigeons flushed out: the last exhalation of the auto assembly.
We wait at the base of the docks, and talk about the White Sox,
Not the Roman Empire. My father and I stare right at it, but talk baseball.
The street deserted. Nobody,
only you and one last
dirt colored robin,
fastened to its branch
against the wind. It seems
you have arrived
late, the city unfamiliar,
the address lost.
And you made such a serious effort –
pondered the obstacles deeply,
tried to be your own critic.
Yet no one came to listen.
Maybe they came, and then left.
After you traveled so far,
just to be there.
It was a failure, that is what they will say.
Jilly took her head out of the oven mainly because it was hot and the gas did not work independently of the pilot light. Stupid new technology. And preferring her head whole and her new auburn sew-in weave unsinged, and having no chloroform in the house, she conceded that she would not go out like a poet. But she updated her status, just the same:
A final peace out
before I end it all.
Treat your life like bread,
no edge too small
to butter.
Jilly was not a poet or even an aspiring one. She just liked varying her posts as much as possible.
Copyright © by Nafissa Thompson-Spires. From Heads of the Colored People: Stories by Nafissa Thompson-Spires. Published by 37 Ink/Atria Books, an Imprint of Simon & Schuster, Inc. Printed by permission.
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.
The Banker trails behind me with his abacus
and crowd of yes-men. I hear
the gold coins rub together in his vest.
The stoplights remind me. And the scars
on my ankles and the nails in my mouth.
Once my father pointed his finger at me.
Once my mother kissed me on the lips in winter.
I could have been a man like those men
on the roof, eyes narrowed at me
like diamond cutters. In surgical gowns
and crucifix tie clips, tight bands of wires
wound beneath their chests –
they remind me of me. All in sync
they cup their ears to the antenna.
Quiet. The Jew Levine is coming to collect
with his chisels and his sack of flesh.
Daddy was often eager to play catch, since he felt society expected this from a loving, caring father. A confidence that soared and a glovehand that fell, still there was no baseball near either. Duplicity has killed more black men than gin. In a southpaw, what they appreciate most is this sort of "live arm." From his mouth words rushed like richly fed rapids, leaving him ever vulnerable to ascription.
Kenosha is hideous behind us, cloaked by this cloud that hangs
On the pigeons flushed out: the last exhalation of the auto assembly.
We wait at the base of the docks, and talk about the White Sox,
Not the Roman Empire. My father and I stare right at it, but talk baseball.
The street deserted. Nobody,
only you and one last
dirt colored robin,
fastened to its branch
against the wind. It seems
you have arrived
late, the city unfamiliar,
the address lost.
And you made such a serious effort –
pondered the obstacles deeply,
tried to be your own critic.
Yet no one came to listen.
Maybe they came, and then left.
After you traveled so far,
just to be there.
It was a failure, that is what they will say.
Jilly took her head out of the oven mainly because it was hot and the gas did not work independently of the pilot light. Stupid new technology. And preferring her head whole and her new auburn sew-in weave unsinged, and having no chloroform in the house, she conceded that she would not go out like a poet. But she updated her status, just the same:
A final peace out
before I end it all.
Treat your life like bread,
no edge too small
to butter.
Jilly was not a poet or even an aspiring one. She just liked varying her posts as much as possible.
Copyright © by Nafissa Thompson-Spires. From Heads of the Colored People: Stories by Nafissa Thompson-Spires. Published by 37 Ink/Atria Books, an Imprint of Simon & Schuster, Inc. Printed by permission.