Search All Winners

Name Sort descending Genre Year
Raymond Abbott Fiction 1985
Aria Aber Poetry 2020
André Aciman Nonfiction 1995
David Adjmi Drama 2010
Ellen Akins Fiction 1989
Daniel Alarcón Fiction 2004
Jeffery Renard Allen Fiction 2002
Jeffery Renard Allen Poetry 2002
Mindy Aloff Nonfiction 1987
Diannely Antigua Poetry 2020
Will Arbery Drama 2020
Elizabeth Arnold Poetry 2002
John Ash Poetry 1986
Negar Azimi Nonfiction 2026
Kirsten Bakis Fiction 2004
Catherine Barnett Poetry 2004
Clare Barron Drama 2017
Elif Batuman Nonfiction 2010
Jen Beagin Fiction 2017
Jo Ann Beard Nonfiction 1997
Joshua Bennett Poetry 2021
Mischa Berlinski Fiction 2008
Ciaran Berry Poetry 2012
Aaliyah Bilal Fiction 2024
Liza Birkenmeier Drama 2025
Sherwin Bitsui Poetry 2006
Scott Blackwood Fiction 2011
Brian Blanchfield Nonfiction 2016
Tommye Blount Poetry 2023
Judy Blunt Nonfiction 2001
Anne Boyer Poetry 2018
Claire Boyles Fiction 2022
Courtney A. Brkic Fiction 2003
Joel Brouwer Poetry 2001
Jericho Brown Poetry 2009

Selected winners

Tommye Blount
2023
Fantasia for the Man in Blue
Poems

I

 

What a lucky beast I am,

when he cleans up nice

 

and nicks his perfect face.

I get to lick that face,

 

when he lets me.

In the cut’s opening

 

I get a taste of him

from the inside

 

out, which is all I have

ever wanted,

 

to be cell-close

to him. Praise the razor’s

 

overzealous arm;

the ease

 

with which it finds tenderness

in this man.

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Nami Mun
2009
Miles from Nowhere
A Novel

Time moved both fast and slow, and neither speed synced up with her fears as she stood at the head of the line. The tellers looked too chipper for a Monday morning. Did they even have money on Mondays? she wondered. Shouldn’t she have come on a Friday? She couldn’t remember why she opened the stickup note, just that she did, and that her boyfriend, the first and only boy she’d ever dated, was the one who had penned it: This is a stickup. Give me all your monie.

 

The misspelling stopped her.

 

“Next in line,” a teller called.

 

Knowledge herself had quit school in the ninth grade but she couldn’t believe that he had misspelled money. “What kind of an idiot can’t spell money?” she told me. “How fucking stupid do you have to be? And if he’s that stupid, how stupid am I for robbing a bank for him?”

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Jesse McCarthy
2022
Who Will Pay Reparations On My Soul?
Essays

Gil Scott-Heron has a beautiful song I wish Ta-Nehisi Coates and all of us would listen to again. It’s called “Who Will Pay Reparations on My Soul?” The title is also the refrain, but the force of the rhetorical question lies in its pithy yoking of materialism and slave capitalism to a logic that transcends the material. This is also the crux of my dissent: What can reparations mean when the damage cannot be accounted for in the only system of accounting that a society recognizes? Part of the work here is thinking about the value of human life differently. This becomes obvious when commentators—including Coates—get caught up trying to tabulate the extraordinary value of slaves held in bondage (don’t forget to convert to today’s dollars!). It shouldn’t be hard to see that doing so yields to a mentality that is itself at the root of slavery as an institution: human beings cannot and should not be quantified, monetized, valued in dollar amounts. There can be no refund check for slavery. But that doesn’t mean the question of injury evaporates, so let us ask a harder question: Who will pay reparations on my soul?

Black American music has always insisted upon soul, the value of the human spirit, and its unquenchable yearnings. It’s a value that explicitly refuses material boundaries or limitations. You hear it encoded emblematically in the old spirituals. Black voices steal away to freedom. They go to the river. They fly away. Something is owed.

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Manuel Muñoz
2008
The Faith Healer of Olive Avenue
Stories

“He has something of mine,” the man said.

 

With that, she turned to look at him. “Who are you?” she finally demanded. “Sergio called me to come pick him up, not you.”

 

“You don’t know me?” His voice pitched higher, edging toward frustration, maybe anger. “You don’t know who I am?”

 

“No,” she finally said. “I don’t.”

 

“He’s got my heart,” the man said, melodramatically holding his hands across his chest, but he sneered a bit when he said it. “He’s got a lot of things I want back.”

 

Copyright © 2006 by Manuel Muñoz. By permission of Stuart Bernstein Representation for Artists, New York, NY and protected by the Copyright Laws of the United States. All rights reserved.  The printing, copying, redistribution, or retransmission of this Content without express permission is prohibited.

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Ilya Kaminsky
2005
Dancing in Odessa
Poems

I see her windows open in the rain, laundry in the windows—

she rides a wild pony for my birthday,

a white pony on the seventh floor.

 

“And where will we keep it?” “On the balcony!”

the pony neighing on the balcony for nine weeks.

At the center of my life: my mother dances,

 

yes here, as in childhood, my mother

asks to describe the stages of my happiness—

she speaks of soups, she is of their telling:

 

between the regiments of saucers and towels,

she moves so fast—she is motionless,

opening and closing doors.

 

But what was happiness? A pony on the balcony!

My mother's past, a cloak she wore on her shoulder.

I drew an axis through the afternoon

 

to see her, sixty, courting a foreign language—

young, not young—my mother

gallops a pony on the seventh floor.

 

She becomes a stranger and acts herself, opens

what is shut, shuts what is open.

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Josip Novakovich
1997
Apricots from Chernobyl
Essays

The police ask me to empty my pockets. I turn them inside out and lay my miserabilia on the table. Two policemen quite unashamedly feel my thighs and ass, which tickles me. With clinical concentration they examine the stuff on the table. It is an obscene invasion of my privacy, more so than if they had turned my asshole inside out and inspected it under a microscope—any microbiologist could tell you that there we are remarkably similar. In pockets turned inside out you can see how we differ.

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