Search All Winners

Name Sort descending Genre Year
Roger Fanning Poetry 1992
Anderson Ferrell Fiction 1996
Emil Ferris Fiction 2025
Kathleen Finneran Nonfiction 2001
Sidik Fofana Fiction 2023
Tope Folarin Fiction 2021
Ben Fountain Fiction 2007
Carribean Fragoza Fiction 2023
Jonathan Franzen Fiction 1988
Kennedy Fraser Nonfiction 1994
Ian Frazier Nonfiction 1989
Nell Freudenberger Fiction 2005
Forrest Gander Poetry 1997
Cristina García Fiction 1996
Madeleine George Drama 2016
David Gewanter Poetry 2002
Melissa James Gibson Drama 2002
Dagoberto Gilb Fiction 1993
Samantha Gillison Fiction 2000
Aracelis Girmay Poetry 2015
Jody Gladding Poetry 1997
Allison Glock Nonfiction 2004
Molly Gloss Fiction 1996
Rebecca Newberger Goldstein Fiction 1991
Elisa Gonzalez Poetry 2024
Allegra Goodman Fiction 1991
Jorie Graham Poetry 1985
Donnetta Lavinia Grays Drama 2021
Lucy Grealy Nonfiction 1995
Lucy Grealy Poetry 1995
Elana Greenfield Drama 2004
Elana Greenfield Fiction 2004
Kaitlyn Greenidge Fiction 2017
Linda Gregg Poetry 1985
Gordon Grice Nonfiction 1999

Selected winners

Matthew Stadler
1995
The Sex Offender
A Novel

“Do you masturbate?” he pried.

 

“Only alone, by myself.” I felt him bristle at my insolence.

 

“Do you work with appropriate fantasies?”

 

“Work?”

 

“You know, do you masturbate to appropriate fantasies before indulging in your inappropriate ones?” He’d given me very specific instructions about this. He scolded my silence by scooting his chair forward till I could smell the odor of his leg.

 

“Sometimes. Sometimes I forget.”

 

THE SEX OFFENDER © 1994 by Matthew Stadler; reprinted with the permission of the publisher, Grove Atlantic, Inc.

 

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Nana Nkweti
2022
Walking on Cowrie Shells
Stories

Hours later, Temperance is leading a “Mommyhood: The Christian Way” workshop for unwed mothers. She takes deep breaths, still trying to channel her mother’s certitude that this child was meant to be, ordained. The mothers around her are lollipop young, mainly from the projects, and chockablock with children. She can almost look at them now and not hurt. Before, her ovaries would ache just to be in this room with so many women who seemed to get pregnant if you so much as blew on them. Shanice begat Shanice Jr. begat Lativia begat LaRenée begat Jamelia begat Jameka. Begat, begetting, begotten.

Temperance had shared these thorny thoughts with Andrew once—confession, allegedly good for the soul and all. She had whispered that night, but her grievances somehow echoed in the cloistered silence of their bedroom. Why, Andrew, why? Why would God bless them and not her? Hadn’t she done everything right, everything expected? Waited to get her JD, her MRS. Why was she still waiting on her happily ever after? Andrew knuckled tears from her cheeks, his eyes filled with such tender disappointment, as he reminded her she was better than that, a woman of God—above such pretty, elitist notions. She bowed her head then. She listened as he prayed.

But sometimes, Lord. Sometimes.

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Kayleb Rae Candrilli
2019
What Runs Over

I imagine my daddy’s mind

looks most like broken
 

dryer machines

scattered in a forest,

 

field mice living

in the leftover lint.

 

I imagine it looks

like stepped-on

 

syringes, too,

flies stooping

 

down to sop up

all the sweet.

 
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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.

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Benjamin Percy
2008
The Wilding
A Novel

“You see my grandson over there.” Justin’s father humps his chin in Graham’s direction without taking his eyes off Seth. “You don’t want him to see what the inside of your skull looks like, do you?”

 

“You’d never do that,” Seth says. “I could walk right up to that rifle and stick my finger in it and you’d never do a thing.”

 

“Come on and try.”

 

“You’re so full of it.”

 

Then his father swings the barrel left and fires. The crack of the gunshot is followed by the chime of glass shattering, falling from the red pickup, its left headlight destroyed.

 

For a moment Seth stares at his truck. “You’ll fucking pay for that,” he says.

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Christopher Tilghman
1990
In a Father's Place
Stories

The boy’s name is Cecil Mayberry; he is twelve, white, and he knows something. He knows what his mother is going to make for supper, pot roast and green Jell-O salad; he knows that the Russians have put a Sputnik in the sky. But these are not the items that are just now on Cecil’s mind. He is thinking about a man, a waterman, lying face down in a tidal pool two hundred yards from where he sits. Cecil knows the man’s name, Grayson “Tommie” Todman, and he knows that two .22-caliber bullets have made a mess of Tommie’s head. He knows the first one entered just below the right cheekline, cutting short Tommie’s last Fuck You to the world, and the second one grazed through his hair before nipping in at the peak and blowing out a portion of Tommie’s unlamented brain.

 

In fact, this is going to be the first time in Cecil’s life—but not the last—that he is an undisputed expert on a certain subject. He knows who shot Tommie, and why.

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