Search All Winners

Name Sort descending Genre Year
Michael Cunningham Fiction 1995
Charles D'Ambrosio Fiction 2006
Michael Dahlie Fiction 2010
J. D. Daniels Nonfiction 2016
Lydia Davis Fiction 1988
Nathan Alan Davis Drama 2018
Tyree Daye Poetry 2019
Connie Deanovich Poetry 1997
Hannah Dela Cruz Abrams Fiction 2013
Hannah Dela Cruz Abrams Nonfiction 2013
Jaquira Díaz Nonfiction 2020
Hernan Diaz Fiction 2019
LaTasha N. Nevada Diggs Poetry 2016
Trudy Dittmar Nonfiction 2003
Matt Donovan Poetry 2010
Mark Doty Poetry 1994
Marcia Douglas Fiction 2023
Jennifer duBois Fiction 2013
Bruce Duffy Fiction 1988
Steven Dunn Fiction 2021
Anaïs Duplan Nonfiction 2022
Pam Durban Fiction 1987
Stuart Dybek Fiction 1985
Gerald Early Nonfiction 1988
Russell Edson Poetry 1989
Louis Edwards Fiction 1994
Kim Edwards Fiction 2002
Erik Ehn Drama 1997
Gretel Ehrlich Nonfiction 1987
Nancy Eimers Poetry 1998
Deborah Eisenberg Fiction 1987
Thomas Sayers Ellis Poetry 2005
Jeffrey Eugenides Fiction 1993
Roger Fanning Poetry 1992
Anderson Ferrell Fiction 1996

Selected winners

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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Daniel Alarcon
2004
War by Candlelight
Stories

In Lima, dying is the local sport. Those who die in phantasmagoric fashion, violently, spectacularly, are celebrated in the fifty-cent papers beneath appropriately gory headlines: DRIVER GETS MELON BURST or NARCO SHOOTOUT, BYSTANDERS EAT LEAD. I don’t work at that kind of newspaper, but if I did, I would write those headlines too. Like my father, I never refuse work. I’ve covered drug busts, double homicides, fires at discos and markets, traffic accidents, bombs in shopping centers. I’ve profiled corrupt politicians, drunken has-been soccer players, artists who hate the world. But I’ve never covered the unexpected death of a middle-aged worker in a public hospital. Mourned by his wife. His child. His other wife. Her children.

 

My father’s dying was not news.

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Kaitlyn Greenidge
2017
We Love You, Charlie Freeman
A Novel

My mother had good hair, a term she would never use herself because, she said, it was so hurtful she couldn’t possibly believe it. But my mother’s hair was undeniably long and thick, a mass of loose curls that Callie and I did not inherit and that she was determined to cut off before we began our new life.

 

She tried to talk both of us into joining her, but only Callie took the bait. My mother got her with the promise of hair made so easy and simple, you could run your fingers through it. When it was all over, Callie was left with an outgrowth of stiff, sodden curls that clung in limp clusters to her forehead and the nape of her neck and made the back of her head smell like burning and sugar.

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Tommy Pico
2018
Nature Poem

My family’s experience isn’t fodder

for artwork, says Nature in btwn make outs

 

But you’ll drink yourself to sleep?

 

Who is the “I” but its inheritances—Let’s play a game

 

Let’s say Southern California’s water is oil

 

Let’s say Halliburton is the San Diego Flume Company

and I am descended from a long line of wildfires

I mean tribal leaders

 

The Cuyamaca Flume transported mountain runoff and river water into the heart of San Diego. Construction began illegally, in secret, in the 1880s. The creek bed dried. The plants died. The very best citizens of San Diego called it “deluded sentimentality” to give Indians any land or water. As if these are things, stuff to be owned or sold off

 

I am missing many cousins, have you seen them?

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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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Stephania Taladrid
2023
The New Yorker (October 17, 2022)

By the time the pregnant woman for whom Anna was waiting walked up, the trailhead was quiet enough to make the chirping of birds seem jarring. As Anna pulled a plastic bag of pills from her pocket and settled across from the pregnant woman at a picnic table, she registered the fear on the woman’s face. Her distress, as Anna understood it, was less about a breach of Texas law than about the possibility that her husband, who was violent, might find out what she was doing. Hands shaking, the woman told Anna that she was already raising three children and had been trying to save enough money to remove them from a dangerous home. The prospect of having another child, she said, was like “getting a death sentence.” She couldn’t vanish from her household for a day without explanation, travel to a state where abortion is legal, and pay seven hundred dollars to a doctor for a prescription. Anna’s pills, which were free, were her best option. Taking the baggie and some instructions on how to take the medication, the woman thanked Anna and fled the park, hoping that her husband would never realize she’d been gone.

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