Search All Winners

Name Sort descending Genre Year
Rita Bullwinkel Fiction 2022
Michael Burkard Poetry 1988
Michael Byers Fiction 1998
Sarah Shun-Lien Bynum Fiction 2005
Ryan Call Fiction 2011
Sheila Callaghan Drama 2007
Kayleb Rae Candrilli Poetry 2019
Francisco Cantú Nonfiction 2017
Anthony Carelli Poetry 2015
Ina Cariño Poetry 2022
Hayden Carruth Poetry 1986
Emily Carter Fiction 2001
Elaine Castillo Fiction 2026
Joan Chase Fiction 1987
Alexander Chee Fiction 2003
Dan Chiasson Poetry 2004
Don Mee Choi Poetry 2011
Yoon Choi Fiction 2024
Shayok Misha Chowdhury Drama 2024
Mia Chung Drama 2023
Paul Clemens Nonfiction 2011
Ama Codjoe Poetry 2023
Anthony Cody Poetry 2022
Robert Cohen Fiction 2000
Christopher Cokinos Nonfiction 2003
Clarence Coo Drama 2017
Jordan E. Cooper Drama 2021
Amanda Coplin Fiction 2013
Leopoldine Core Fiction 2015
Eduardo C. Corral Poetry 2011
Elwin Cotman Fiction 2025
Patrick Cottrell Fiction 2018
Frances Ya-Chu Cowhig Drama 2024
Mark Cox Poetry 1987
Douglas Crase Poetry 1985

Selected winners

August Wilson
1986
Ma Rainey's Black Bottom
A Play

TOLEDO: Go ahead, then. Spell it. Music. Spell it.

 

LEVEE: I can spell it, nigger! M-U-S-I-K. There!

            (He reaches for the money.)

 

TOLEDO: Naw! Naw! Leave that money alone! You ain’t spelled it.

 

LEVEE: What you mean I ain’t spelled it? I said M-U-S-I-K!

 

TOLEDO: That ain’t how you spell it! That ain’t how you spell it! It’s M-U-S-I-C! C, nigger. Not K! M-U-S-I-C!

 

LEVEE: What you mean, C? Who say it’s C?

 

TOLEDO: Cutler. Slow Drag, Tell this fool.

            (They look at each other and then away.)

Well, I’ll be a monkey’s uncle!

            (TOLEDO picks up the money and hands LEVEE his dollar back.)

Here’s your dollar back, Levee. I done won it, you understand. I done won the dollar. But if don’t nobody know but me, how am I gonna prove it to you?

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Matthew Klam
2001
Sam the Cat
And Other Stories

I am a fantastic lover. I’ve got to give me that. There are only two things about me that females don’t like: the fact that I sing when I drive—admittedly, I’m not a musician—and my skiing. All the girls I know ski moguls well—really solid bump skiers—and I try to turn in the swells and lose my downhill line. I have thick hair. I’ve got a car that stinks from new leather. My skin, my body—that’s all decent. But I get ridiculed on bumps, and the way I sing gets mistaken for a joke or an imitation of someone dippy, when in fact your car is one of the few places besides the bathroom where you can sing the best songs the way they were meant to be sung. They all think my singing is terrible. Screw them. (I did.)

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Mindy Aloff
1987
Hippo in a Tutu
Dancing in Disney Animation
Even in a traditional "princess" picture, such as the still-popular 1950 Cinderella, the scene with the most romantic magic—the Fred-and-Ginger buoyancy and sense of brimming anticipation—is not, as we would expect, Cinderella's waltz with the Prince in the ballroom. That we only get to glimpse from behind the courtiers watching it—during those moments when the dance isn't interrupted by comic business for secondary characters or by the couple themselves breaking off the dance merely to drink in each other's shadows. The accent is on their private discovery of their feelings, not on the public celebration of their newfound romance. The real dance energy, rather, surges forth in the designing, cutting, and assembly of the heroine's dress in her lonely bedroom by an exaltation of singing mice and birds: a solitary girl's fantasy. The Disney inspirational artist for Cinderella, as for many animated features of the 1950s, was the brilliant and thoughtful painter Mary Blair. Although Blair was frequently heartbroken by what she viewed as the mistranslation of her concepts in the finished films—a feeling that seems to be embodied in the moment when Cinderella's wicked stepmother and stepsisters tear her dress to shreds—throughout the picture you can still see evidence of Blair's deeply unconventional ideas of how stories can be told through synecdoche (key details made to stand for a larger whole) and emotions represented through color and shifts in proportion.
 
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Samuel Hunter
2012
A Bright New Boise
A Play

ALEX: I get panic attacks over nothing. Absolutely nothing. I’ll be at work, or at home, or at school, and suddenly I’ll start shaking and I won’t be able to breathe.

 

          (pause)

 

School counselor says that it might be a chemical imbalance. Or, she says, it might have something to do with my past. I think it has something to do with my past, so if you’re my father, it’s probably your fault.

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Thomas Sayers Ellis
2005
The Maverick Room
Poems

Go Ju go Ju go.

Lightskinned Rainbow

eclipsed Tick Tock,

his chocolate walk-partner.

Incestuous Pootchie and Tan.

Both Frogs. Squirrel. Crazy ass Sponge.

Bama Duke’s lopsided,

sticky daughter, Peaches.

Out b-shaped barber,

Blinky. We miss you,

 

Missy, rest in peace.

John Rocks-on-Rocks.

The Young Dillingers.

Freckles versus Baby Tim.

Cabalou stuttering,

i-m-m-mi-t-ta-ting Johnny Lips.

Hillbilly, Lefty, Itchy and Skip.

Dootie Bug’s first

baby’s mama, leaving.

Tootie had Fin.

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Stephen Adly Guirgis
2006
The Last Days of Judas Iscariot
A Play

JUDGE LITTLEFIELD: Cunningham, you’re the cynical, faithless spawn of a crackpot gypsy and a defrocked mick—yet, you just told me Jesus would have you on your knees in three minutes.

 

CUNNINGHAM: So?

 

JUDGE LITTLEFIELD: So consider this: your friend Judas? He has Jesus for three years. Think about that, Cunningham. Three years in the foxhole with the best friend ya ever had, then he shot him in the back for a pack of Kools. Think what that says about the essential character of the man. Now go home and stir that into your wee gypsy teapot! Petition’s invalid, motion denied! Next case!

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