Search All Winners

Name Sort descending Genre Year
Virginia Grise Drama 2013
Rinne Groff Drama 2005
Paul Guest Poetry 2007
Stephen Adly Guirgis Drama 2006
Alexis Pauline Gumbs Nonfiction 2022
Danai Gurira Drama 2012
Daniel Hall Poetry 1998
Lisa Halliday Fiction 2017
W. David Hancock Drama 1998
Karen Hao Nonfiction 2026
Kent Haruf Fiction 1986
Michael Haskell Poetry 1999
Ehud Havazelet Fiction 1999
Terrance Hayes Poetry 1999
Alan Heathcock Fiction 2012
Marwa Helal Poetry 2021
Amy Herzog Drama 2011
Emily Hiestand Poetry 1990
Rick Hilles Poetry 2008
Lucas Hnath Drama 2015
Eva Hoffman Nonfiction 1992
Donovan Hohn Nonfiction 2008
John Holman Fiction 1991
Mary Hood Fiction 1994
Jay Hopler Poetry 2009
Michelle Huneven Fiction 2002
Samuel Hunter Drama 2012
Hajar Hussaini Poetry 2026
Ishion Hutchinson Poetry 2013
Naomi Iizuka Drama 1999
James Ijames Drama 2017
Major Jackson Poetry 2003
Michael R. Jackson Drama 2019
Mitchell S. Jackson Fiction 2016
Tyehimba Jess Poetry 2006

Selected winners

Ada Zhang
2024
The Sorrows of Others: Stories

Prancing down the building’s stairs, Hui concentrated again on the boy who had stopped returning her calls. Acknowledging another’s pain obscured one’s own. Hui wasn’t ready yet to accept that. From the window, Meng watched her granddaughter walk up the tree-lined street. The old woman’s longing was like that of a child, featuring prominently in her eyes, which captured that spirit from her youth. It would have been easy for anyone to picture what she had looked like back then, if anyone had been there.

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Nina Marie Martínez
2006
¡Caramba!
A Novel

Javier was crazy about tacos. He loved them the way some men love their women: a nice, hard, firm shell. While many men have fallen to the wayside on account of a woman, it is hard to imagine a taco unraveling a man the way it did Javier. After simple surgery to remove a cyst from his gallbladder, one of Javier’s friends snuck him a couple of hard-shelled tacos. He propped himself up in his bed, the green of his hospital pajamas matching the lettuce in his taco, smiled wide, and dug in. After a good meal, he thanked the Lord for his many blessings, including such good friends, then laid himself down to sleep never to wake again. The taco shell had ripped his stitches as it went down.

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Michael Dahlie
2010
A Gentleman's Guide to Graceful Living
A Novel

In 1959, Prentice Ross astounded his parents by enrolling in aviation school instead of going to Yale. Of course, being generous and humane people, Prentice’s parents didn’t have anything against pilots per se. It just happened that they had never met one, nor had they ever even thought of how a person became one. In fact, they knew not a single person who drove any machine at all (for a living, that is), so they were at a loss when they tried to imagine what their son’s future would be like.

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Alison C. Rollins
2026
Black Bell

A Child is Like a Clarinet

for Eliza Harris and Henri Akoka

Similes are dangerous.
To equate a person to

an object, an instrument
no less, is a risk.

A child is like a clarinet.
A mother is like a clarinetist.

Personhood posits
promising possibilities.

Poems are willing to die.
Poems dare, just as Eliza

Harris leaped onto pieces
of ice to cross the frozen

Ohio River with her baby
in her hands. Poems flee,

just as Henri Akoka
jumped onto the top of

a moving train with his
clarinet under his arm.

One of these things
is not like the other.

Can’t you tell? Mouthpiece
from lips, flesh from wood.

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Ben Marcus
1999
The Age of Wire and String
Stories

Intercourse with resuscitated wife for particular number of days, superstitious act designed to insure safe operation of household machinery. Electricity mourns the absence of the energy form (wife) within the household’s walls by stalling its flow to the outlets. As such, an improvised friction needs to take the place of electricity, to goad the natural currents back to their proper levels. This is achieved with the dead wife. She must be found, revived, and then penetrated until heat fills the room, until the toaster is shooting bread onto the floor, until she is smiling beneath you with black teeth and grabbing your bottom. Then the vacuum rides by and no one is pushing it, it is on full steam. Days flip past in chunks of fake light, and the intercourse is placed in the back of the mind. But it is always there, that moving into a static-ridden corpse that once spoke familiar messages in the morning when the sun was new.

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August Wilson
1986
Ma Rainey's Black Bottom
A Play

TOLEDO: Go ahead, then. Spell it. Music. Spell it.

 

LEVEE: I can spell it, nigger! M-U-S-I-K. There!

            (He reaches for the money.)

 

TOLEDO: Naw! Naw! Leave that money alone! You ain’t spelled it.

 

LEVEE: What you mean I ain’t spelled it? I said M-U-S-I-K!

 

TOLEDO: That ain’t how you spell it! That ain’t how you spell it! It’s M-U-S-I-C! C, nigger. Not K! M-U-S-I-C!

 

LEVEE: What you mean, C? Who say it’s C?

 

TOLEDO: Cutler. Slow Drag, Tell this fool.

            (They look at each other and then away.)

Well, I’ll be a monkey’s uncle!

            (TOLEDO picks up the money and hands LEVEE his dollar back.)

Here’s your dollar back, Levee. I done won it, you understand. I done won the dollar. But if don’t nobody know but me, how am I gonna prove it to you?

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