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

Gothataone Moeng
2024
Call and Response: Stories

Whatever group of friends I told, what always fascinated people was not the boy’s dying but this image, this juxtaposition of school and cemetery, side by side, and a hill cutting them off from the ward. It was as if they thought that, away from our parents, we kids fraternized with the dead. There would often be one person who thought that I was embellishing, that I was making up these details for the benefit of a story, to create some sort of meaning. That skeptic seemed to assume that the hill—which I now knew to be just a hillock—the school, the cemetery were symbolic of something that I had overcome, something I had escaped. But the Botalaote cemetery was separated from Motalaote Lekhutile Primary School by only a narrow dirt road, and behind them the hillock cut them off from Botalaote Ward. Those were the facts.

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Martha Zweig
1999
Vinegar Bone
Poems

He did it deliberately &

so when the police tracked him down he was

able to explain it so

clearly they had to

agree. Still, they hadn’t done it.

 

Anyway, he’d checked it out &

it was what they’d suspected,

women! – women just

opened & spilled, there was

nothing special in there after all.

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Tarell Alvin McCraney
2007
The Brother/Sister Plays

OGUN SIZE:

So she tells Oya she pregnant with Shango’s baby. Just walked up to Oya with them hips you know and was like my name Shun, I got his baby so you ain’t shit to him. And see Oya can’t have no kids. Everybody know that. Now she scared she gone lose Shango. Which would be good if she left the nigga… But she can’t see that, nah she got to show him how much she willing to do for Shango. How far she willing to go for Shango. So she can’t give him no child, she cut off her ear.

 

OSHOOSI SIZE:

What!

 

OGUN SIZE:

Put it in a bowl and walked it to him while he was watching TV at her house. She ain’ scream or nothing… Cut off her ear and gave it to him. Say, I don’t want nobody but you. Say this mark me as yours…

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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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Mark Doty
1994
My Alexandria
Poems

Prendergast painted the Public Garden;

remembered, even at a little distance,

the city takes on his ravishing tones.

 

Jots of color resolve: massed parasols

above a glimmering pond, the transit

of almost translucent swans. Brilliant bits

 

- jewels? slices of sugared fruit? – bloom

into a clutch of skirts on the bridge

above the summer boaters. His city’s essence:

 

all the hues of chintzes or makeup

or Italian ices, all the sheen artifice

is capable of. Our city’s lavish paintbox.

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Mary Swander
1994
Heaven-And-Earth House
Poems

We are the nothing-to-lose ones,

the try-anything-once ones,

weed seeds inside our cells –

dandelion, nettle, lizard tail –

roots sunk in, for it is the tips

that count, reaching out to tap

new moisture. Roots, stems, leaves,

the stomata, those little mouths

opening, closing, sucking in air

in the evening when we boil

wild ginger and sleep in its vapor.

Like cures like, we hear in the morning

when we brush ourselves with

vegetable fiber in the shower,

beat ourselves with our fists.

(This is no crazier than anything else.)

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