Search All Winners

Name Sort descending Genre Year
Justin Cronin Fiction 2002
Stanley Crouch Nonfiction 1991
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
Kim Edwards Fiction 2002
Louis Edwards Fiction 1994
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

Selected winners

Jorie Graham
1985
The Dream of the Unified Field
Selected Poems 1974-1994

There was a space across which you and your shadow, pacing,

        broke,

and around you pockets of shadow, sucking, shutting.

        By now the talk had changed.

There was a liquid of wall and stove and space-behind-the-stove.

        And x where the mirror had been.

And x where the window had been.

       And x where my hand slid over the tabletop breaking a glass.

 

There were shadows in the shadows, and in there were cuts.

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Mark Turpin
1997
Hammer
Poems

Maybe he pictured just the nail,

the slight swirl in the center of the head and raised

the hammer, and brought it down with fury and with skill

and sank it with a single blow.

 

Not a difficult truck for a journeyman, no harder

than figuring stairs or a hip-and-valley roof

or staking out a lot, but neither is a house,

a house is just a box fastened with thousands of nails.

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Sylvia Khoury
2021
Against the Hillside

ANTHONY
I’m sorry, sir.
I don’t think I understand.


MATT
She took her kid and left in the middle of the night.
To go where?
She’s in the middle of the desert.


ANTHONY
Sir, if I may.


MATT
You may.


ANTHONY
Her leaving
What does any of that have to do with us?


MATT
What does that have to do with us?
We did that, Anthony.
We broke that family up.


A moment.


MATT
Do you not understand that?


ANTHONY
It doesn’t matter what I understand, sir.

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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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Anne Boyer
2018
Garments Against Women

There are the trash eaters: there are the diamond eaters. The diamond eaters are biblical; the trash eaters only so much in that they are lepers. I am on the side of the trash eaters, though I have eaten so many diamonds they are now poking through my skin. Everyone tries to figure out how to overcome the embarrassment of existing.

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Azareen Van der Vliet Oloomi
2015
Fra Keeler
A Novel

When I bent down to stack the papers, I thought the sensation I had had in my brain earlier was the same sensation I had once felt when I shook a pomegranate near my ear. Or, not exactly a sensation, but a sound. That when I shook the pomegranate it had made the same sound as the sound my blood made when it swiveled in my brain, and that both sounds led to the same sensation: of something having dissolved where it shouldn’t have. I went over the memory, from when I picked up the pomegranate to when I shook it near my ear: I had squeezed the pomegranate by rolling it, had pressed into it with my thumbs, juiced it without cracking it open, because it’s the only way to juice a pomegranate without any special machines. All the juice was swiveling about inside the shell of the pomegranate, channeling its way around the seeds the way river water channels itself around driftwood. When I put the pomegranate down I could still hear the juice working its way around the seeds that were dead without their pulp. I had squeezed the pomegranate till the pulp was dead. I could invent a machine to juice pomegranates, I thought, and not just pomegranates but persimmons too, some very basic, cheap tool people could use in their homes, and then I imagined a thousand people, all wearing their house slippers, juicing their pomegranates and persimmons for breakfast, and I thought, never mind, no doubt someone has already invented it.

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