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

Harriet Ritvo
1990
The Animal Estate
The English and Other Creatures in Victorian England

When in 1679 a London woman swung at Tyburn for bestiality, her canine partner in crime suffered the same punishment on the same grounds. King James I ordered a bear that had killed a child to be baited to death, and rural shepherds frequently hanged dogs caught worrying their flocks. The Merchant of Venice included a reference to “a wolf, hanged for human slaughter” sufficiently cursory to suggest that Shakespeare’s audience recognized animals as appropriate participants in formal judicial proceedings.

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Thylias Moss
1991
Rainbow Remnants in Rock Bottom Ghetto Sky
Poems

Long ago a fish forgot what fins were good for

And flew out of the stream

It was not dreaming

It had no ambition but confusion

 

In Nova Scotia it lies on ice in the sun

and its eye turns white and pops out like a pearl

when it’s broiled

 

The Titanic is the one that got away.

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Denis Johnson
1986
Angels
A Novel

In the Oakland Greyhound all the people were dwarfs, and they pushed and shoved to get on the bus, even cutting in ahead of the two nuns, who were there first. The two nuns smiled sweetly at Miranda and Baby Ellen and played I-see-you behind their fingers when they’d taken their seats. But Jamie could sense that they found her make-up too thick, her pants too tight. They knew she was leaving her husband, and figured she’d turn for a living to whoring. She wanted to tell them what was what, but you can’t talk to a Catholic. The shorter nun carried a bright cut rose wrapped in her two hands.

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Matt Donovan
2010
Vellum
Poems

There are no limits to our verbs, our forms:

                                                                        think of the knife

that slits an orange or bundled iris stems, the one strapped

to the rooster’s varnished spur. The dagger, poniard, dirk.

 

Edge that snips the line, whittles an owl, juliennes, traces a lip.

A cut, an incision, a gouge. In Sudan, the story goes, when the slogan

of reform was The Future’s in Your Hands, men scavenged the streets

 

waving machetes, hacking off hands above the wrist, asking

How will you hold the future now? The stiletto, the skean, the scythe,

The choosing, the mark, the tool. Beneath a concrete bridge,

 

shirtless & drunk, a boy works his way through the swallows’ nests,

slashing until each mud cone-shape drops into the river, dissolves.

Yet to say so is hardly enough. To say pigsticker’s, bayonetshiv.

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Francisco Cantú
2017
The Line Becomes a River

To live in the city of El Paso in those days was to hover at the edge of crushing and proximate cruelty, to safely fill the lungs with air steeped in horror. In news, in academic texts, in literature and art, El Paso’s twin city of Juárez was perpetually being presented as a place of murder and violence, a landscape of factories, maquiladoras, drug cartels, narcos, hit men, sicarios, delinquents, military, police, poverty, femicide, rape, kidnapping, disappearance, homicide, slaughter, massacre, shootings, gun fights, turf wars, mass graves, garbage dumps, impunity, corruption, decay, erosion, a hemispheric laboratory of social and economic horror. This representation—the narrative of a city irreparably fractured by its looming border, saddled with broken institutions and a terrorized populace—had become part and parcel of its legacy, the subconscious inheritance of all those who came into the city’s orbit.

 

From THE LINE BECOMES A RIVER by Francisco Cantu, to be published on February 6, 2018 by Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright (c) 2018 by Francisco Cantu.

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David Adjmi
2010
Stunning
A Play

CLAUDINE: (covers her face, emotionally exhausted) I’m old.

 

LILY: (I feel old.)

 

CLAUDINE: Bonnie has four kids //

 

SHELLY: (Three) //

 

CLAUDINE: and she’s two years younger than me I’m gonna be twenny.

 

LILY: If I met someone you will.

 

CLAUDINE: But you’re pretty.

 

LILY: You’re stunning!

 

CLAUDINE: I’M FAT!

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