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.
“What do I want you to do? You really want to know? I’ll tell you. Just look me in the eye and tell me one thing. Just do it. Tell me whether you and Cynthia have made love. Tell me. Go on.”
“The answer is no.”
“You swear?”
“I swear.”
“I believe you,” she said quietly, and for a moment Richard thought it was over until she turned around and screamed at him, “THEN WHY DON’T YOU MAKE LOVE WITH ME?”
“Then in the second half of the show,” my father recalled, “MacKnight would hypnotize subjects who came up from the audience, and he’d get them to do all kinds of things, and some of them I think he really did hypnotize but others would sort of fake it. He had people who traveled along with him, and I was one of them. I was supposed to sit in the audience and then come up onstage. And the audience must have known very well that I was a phony, because I had just done my magic act in the first part of the evening! But then I went out and sat in the audience, and he said, Will any volunteers come up, and up I would jump along with someone else. Of course, I was supposed to be hypnotized, but I never was. I wanted to be. I thought, Gee, I mustn’t fake this, because it was supposed to be for real, but he could never get me to be really hypnotized, so I always did have to fake it.”
Because there were no available roles for a woman who drove men wild and enjoyed them in bed by the dozen and gave as good as she got and didn’t want to marry and never suffered for any of it, Mae West had to become a writer before she could be a movie star. She began her literary career with a sketch for a vaudeville act in 1913, when she was twenty and her fame still rested largely on her ability to perform a well-advertised “muscle dance in a sitting position.” By the time her first successful theatrical opus, entitled Sex, got her arrested in New York, in 1927, she’d been honing her playwriting skill alongside her nonpareil shimmy and cooch for over a decade.
We do not mean to complain. We know how it is.
In older, even sadder cultures the worst possible sorts
have been playing hot and cold with people’s lives
for much longer. Like Perrow says,
We’ll all have baboon hearts one of these days.
We wintered with ample fuel and real tomatoes.
We were allowed to roam, sniffing and chewing
at the tufted crust. We were let to breathe.
That is, we respirated. Now the soft clocks
have gorged themselves on our time. Yet
as our hair blanches and comes out
in hanks, we can tell it is nearly spring –
the students shed their black coats
on the green; we begin to see shade.
Lo, this is the breastbone’s embraceable light.
We are here. Still breathing and constellated.
Daddy shook the box, kicked it, mumbled under his breath something that sounded like it had teeth. He came from around the house with a shovel and dragged it behind him, along with the box, to the woods. He would bury my dog, I thought.
Egrets picketing the spines of cattle in fields edged
with common tansy. Flowers my father gathered
for my mother to chew. To induce abortion. A common,
cosmopolitan agnostoid lithofacies naked in the foothills. I love
the character of your intelligence, its cast as well as pitch.
Border wide without marginal spines. At high angles
to the inferred shoreline.
“What do I want you to do? You really want to know? I’ll tell you. Just look me in the eye and tell me one thing. Just do it. Tell me whether you and Cynthia have made love. Tell me. Go on.”
“The answer is no.”
“You swear?”
“I swear.”
“I believe you,” she said quietly, and for a moment Richard thought it was over until she turned around and screamed at him, “THEN WHY DON’T YOU MAKE LOVE WITH ME?”
“Then in the second half of the show,” my father recalled, “MacKnight would hypnotize subjects who came up from the audience, and he’d get them to do all kinds of things, and some of them I think he really did hypnotize but others would sort of fake it. He had people who traveled along with him, and I was one of them. I was supposed to sit in the audience and then come up onstage. And the audience must have known very well that I was a phony, because I had just done my magic act in the first part of the evening! But then I went out and sat in the audience, and he said, Will any volunteers come up, and up I would jump along with someone else. Of course, I was supposed to be hypnotized, but I never was. I wanted to be. I thought, Gee, I mustn’t fake this, because it was supposed to be for real, but he could never get me to be really hypnotized, so I always did have to fake it.”
Because there were no available roles for a woman who drove men wild and enjoyed them in bed by the dozen and gave as good as she got and didn’t want to marry and never suffered for any of it, Mae West had to become a writer before she could be a movie star. She began her literary career with a sketch for a vaudeville act in 1913, when she was twenty and her fame still rested largely on her ability to perform a well-advertised “muscle dance in a sitting position.” By the time her first successful theatrical opus, entitled Sex, got her arrested in New York, in 1927, she’d been honing her playwriting skill alongside her nonpareil shimmy and cooch for over a decade.
We do not mean to complain. We know how it is.
In older, even sadder cultures the worst possible sorts
have been playing hot and cold with people’s lives
for much longer. Like Perrow says,
We’ll all have baboon hearts one of these days.
We wintered with ample fuel and real tomatoes.
We were allowed to roam, sniffing and chewing
at the tufted crust. We were let to breathe.
That is, we respirated. Now the soft clocks
have gorged themselves on our time. Yet
as our hair blanches and comes out
in hanks, we can tell it is nearly spring –
the students shed their black coats
on the green; we begin to see shade.
Lo, this is the breastbone’s embraceable light.
We are here. Still breathing and constellated.
Daddy shook the box, kicked it, mumbled under his breath something that sounded like it had teeth. He came from around the house with a shovel and dragged it behind him, along with the box, to the woods. He would bury my dog, I thought.
Egrets picketing the spines of cattle in fields edged
with common tansy. Flowers my father gathered
for my mother to chew. To induce abortion. A common,
cosmopolitan agnostoid lithofacies naked in the foothills. I love
the character of your intelligence, its cast as well as pitch.
Border wide without marginal spines. At high angles
to the inferred shoreline.