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

Yoon Choi
2024
Skinship: Stories

By the end of the day, Ji-ho had moved things around, managing, even, to reposition an oak dresser by himself, whereas our mother and I, for all the years we would occupy the middle room, would never take down my cousin’s Star Wars poster, his Carnegie Mellon pennant. Every now and then, she and I would start up the same old argument about who slept on the floor and who slept on the twin bed. Each of us trying to urge comfort on the other. Neither of us knowing how to commit an act of selfishness.

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Damien Wilkins
1992
The Miserables
A Novel

When the ferry berthed at Picton, the American was to purchase two one-way tickets back to Wellington; one under Healey’s name and one under his own real name; he was at present travelling under a false name. He would pass over both these tickets to Healey and then disappear for good. Healey would deposit the American’s ticket in a rubbish bin on board. Then at a certain point in the voyage, when it was dark and they were towards the middle of the Strait—this was important, the American had told him, because of the currents which might easily drag a body far out to sea—Healey was to raise the alarm that he had just seen a man jump overboard.

 

The ferry would most likely be stopped and Healey would have to take a role in looking for the missing man. He would have to be ready to indicate how the figure fell and from where exactly, what he was wearing, what he looked like, and in none of these details should he be too precise. It was dark. No one else was on this part of the deck when it happened and Healey himself was on an upper deck and saw it more or less out of the corner of his eye. No, the man did not shout or make any noise as he jumped.

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Shane McCrae
2011
Mule
Poems

And we divorced in the survives            and O

It was a comedy            and first you ever slept with me

And marry me and marry me and O

 

How fat I used to be

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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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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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Frank Stewart
1986
Flying the Red Eye
Poems

Circling slow and dripping like a fat June bug in the rain,

turbos throbbing in the labored

dark over Chicago, the Electra turned, one wing

pivoted up, like an old dog tilted on three legs,

smelling dank, an old heaviness in him, as though

he were about to tumble over toward those glorious,

snowy lights below. There might have been

freezing sleet as well. In any case, I know

I laughed into a glass half filled with bourbon,

glanced again at the two feathered props

out the window, their cowlings charred and smoky.

But freed all at once from months of killing depression,

elated strangely, almost uplifted.

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