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
Mitchell S. Jackson Fiction 2016
Major Jackson Poetry 2003
Michael R. Jackson Drama 2019
Tyehimba Jess Poetry 2006

Selected winners

Ilya Kaminsky
2005
Dancing in Odessa
Poems

I see her windows open in the rain, laundry in the windows—

she rides a wild pony for my birthday,

a white pony on the seventh floor.

 

“And where will we keep it?” “On the balcony!”

the pony neighing on the balcony for nine weeks.

At the center of my life: my mother dances,

 

yes here, as in childhood, my mother

asks to describe the stages of my happiness—

she speaks of soups, she is of their telling:

 

between the regiments of saucers and towels,

she moves so fast—she is motionless,

opening and closing doors.

 

But what was happiness? A pony on the balcony!

My mother's past, a cloak she wore on her shoulder.

I drew an axis through the afternoon

 

to see her, sixty, courting a foreign language—

young, not young—my mother

gallops a pony on the seventh floor.

 

She becomes a stranger and acts herself, opens

what is shut, shuts what is open.

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Mitchell S. Jackson
2016
The Residue Years
A Novel

My ex answers your call like shit is sweet, says, Good to hear from you, so fake you want to reach through the receiver. Next thing, she drops the phone minus nary a pardon and leaves you on an indefinite hold soundtracked by the blare of some rap video cranked beyond good sense. Meanwhile, you carry the noisy cordless into another room, crack the blinds, and watch a pair of baseheads, both thin as antennas, push a half-wrecked sedan down the street. The baseheads, they’ve got the sedan’s doors flung open, and seethe at each other across a scrappy ragtop roof. Farther, they jog their hooptie to a slow cruise, jump in on the run, and sputter off. It’s still plenty of lightweight action on the set. The old lady dressed in a who-gives-a-what-about-the-heat getup (down coat, snow boots, thick wool scarf) tugging a shopping cart full of thrashed cans. Down a ways, boys riding wheelies for distance on dirt bikes with mismatched rims.

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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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Carribean Fragoza
2023
Eat the Mouth That Feeds You

He had that look on his face again. She remembered it now. It was that troubled look he had six months ago when his snakes got sick. “Angelica,” she remembered him saying softly, almost in tears, “they’re dying, they won’t eat, they’re as limp as noodles, all of them.” What was he going to do? He was supposed to deliver their venom to the lab days ago. They had been calling, reminding him, demanding, threatening to go with another venom vendor. They’d tell the other labs about him, ruin his hard-earned reputation.

 

He was screwed without his snakes. And what’s more, he really loved them.

 

Angelica always wanted him to look at her that way, with that much attention and intensity that would show he loved her that much too. That he needed her around. And finally here it was.

 

“No more pills, Angelica. You’re going to end up killing yourself.”

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Manuel Muñoz
2008
The Faith Healer of Olive Avenue
Stories

“He has something of mine,” the man said.

 

With that, she turned to look at him. “Who are you?” she finally demanded. “Sergio called me to come pick him up, not you.”

 

“You don’t know me?” His voice pitched higher, edging toward frustration, maybe anger. “You don’t know who I am?”

 

“No,” she finally said. “I don’t.”

 

“He’s got my heart,” the man said, melodramatically holding his hands across his chest, but he sneered a bit when he said it. “He’s got a lot of things I want back.”

 

Copyright © 2006 by Manuel Muñoz. By permission of Stuart Bernstein Representation for Artists, New York, NY and protected by the Copyright Laws of the United States. All rights reserved.  The printing, copying, redistribution, or retransmission of this Content without express permission is prohibited.

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Dennis Nurkse
1990
Staggered Lights
Poems

A man and a woman

are lying together

listening to news of a war.

The radio dial

is the only light in the room.

Casualties are read out.

He thinks, “Those are people

I no longer have to love,”

and he touches her hair

and calls her name

but it sounds strange to her

like a stone left over

from a house already built.

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