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
Yoon Choi	Fiction	2024
Don Mee Choi	Poetry	2011
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

Douglas Kearney

2008

Fear, Some

Poems

I feel I could eat women.

Driving alone, I’m hungry,

hawking bus stops and sidewalks.

Eyeballs grinding, I harden.

My mind, a bulging ice box.

My computer, a deep freeze.

The bingeing grows out of hand –

my wastebasket coughing up

the napkins hiding the bones.

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.

Raymond Abbott

1985

That Day in Gordon

A Novel

Still behind him was that damn coyote. A determined critter, he was. He hadn’t caught sight of him for at least an hour, but he felt his presence out there. At first he had feared him. Now he didn’t. If circumstances were different he might have welcomed the company of a coyote on a lonely walk on a snowy night. At best, the coyote’s presence was disconcerting. He was puzzled. Why would a coyote be so determined? Poor animal. It had been such a hard winter for man and beast.

Brittany Rogers

2026

Good Dress

UPBRINGING

In an alternate version of this story
I grow up in Denver, Colorado, fenced in
by calcareous mountains and thread-thin air. Who might
I have become had we driven eighteen hours overnight to flee
the Red Zone, Chiron lighting the sky, Detroit’s bass chasing behind?
I imagine Denver homes are large. Ivy clings to the wall
like sap. I imagine I could have walked to school unguarded, no knife
pressed to my ankle in fresh Js my mama wouldn’t buy in the City.

Once the factories stripped the grass of its green, she was willing to leave
her mama on Jane Street and my aunties scattered from Cadieux to Van Dyke.

A diamond band convinced her to stay, but she models
what could still become of me: slips and stockings,
subdivisions, propriety. I could have run when I had the chance
but I’m a daughter of the East Side, that old girl set in her ways.

I grew a mouth like the grown men in my hood. Bouquet of tattoos
across my shoulders. Where brown hair was, a field of watercolors.

Darryl Pinckney

1986

Out There

Mavericks of Black Literature

The experience of reading Sex and Race is one of embrace and recoil as Rogers indiscriminately loads us down with the provable and the forever dodgy, the serious and the frivolous. Sometimes his footnotes, not always adequate or acceptable, tell when he was at work on a given aspect of his subject, in the way that an itemized credit card bill is a diary, a record of movement. The references go in clusters: in the 1920s, he was reading about Syria, Palestine, Arabia, and Persia; in the 1930s, he was reading the memoirs of English travelers in Africa. Sometimes, he clearly couldn’t go back to a particular library or text to check his facts again. And sometimes Sex and Race reads as though it had threatened to consume him, because the first-person voice breaks through in the book at times of what could be called narrative stress.

Sofi Thanhauser

2025

Worn: A People’s History of Clothing

Today, it is no longer cheaper to make your own clothes than to buy them. A task that once fell within the province of the ordinary household is now an esoteric hobby, requiring skills out of reach to most ordinary Americans. It can even be cost prohibitive, since to buy the cloth to make a shirt will often cost more than the price of a new shirt. A curious reversal.

Ralph Tharpe, the former design engineer at Cone Mills in North Carolina, and the man responsible for making denim for Levi’s 501s during the 1970s, put the question to me this way: “Why is it that from 1960 to today the price of a Ford truck has increased ten times over and the price of a pair of dungarees has stayed the same?” This question becomes even more puzzling when one considers that many mass-manufacturing processes have been automated since the 1960s but sewing is not one of them. The process one follows to sew a garment has not changed materially since the advent of the sewing machine. Fabric is a fussy and unpredictable material, unlike sheet metal, that still requires the subtle manipulation of tension that can only be done by a real human hand.

How then, did this happen?

Selected winners