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

Tommy Pico
2018
Nature Poem

My family’s experience isn’t fodder

for artwork, says Nature in btwn make outs

 

But you’ll drink yourself to sleep?

 

Who is the “I” but its inheritances—Let’s play a game

 

Let’s say Southern California’s water is oil

 

Let’s say Halliburton is the San Diego Flume Company

and I am descended from a long line of wildfires

I mean tribal leaders

 

The Cuyamaca Flume transported mountain runoff and river water into the heart of San Diego. Construction began illegally, in secret, in the 1880s. The creek bed dried. The plants died. The very best citizens of San Diego called it “deluded sentimentality” to give Indians any land or water. As if these are things, stuff to be owned or sold off

 

I am missing many cousins, have you seen them?

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Jennifer duBois
2013
A Partial History of Lost Causes
A Novel

I told him about the nucleotides, the genetic test, the prognosis. I told him that atrophying of basal ganglia starts years before symptoms present, and that right now—in this car, in this moment—parts of my brain were dying, parts that I didn’t know I needed, but parts that I would never, never be able to get back. I told him that there wasn’t an emotion or an impulse or a stumble that I could completely trust; I told him that one day—if I let it—everything I did and said and thought would be nothing more than the entropic implosion of a condemned building or a dying star.

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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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Julie Sheehan
2008
Orient Point
Poems

Coyotes invade. They claim to be the truth.

Black bears nose the bougainvillea, moving

eastward, indiscriminate, original.

Our sinks back up, our toilets will not drain,

our nature disobediently tends toward nature.

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Alexander Chee
2003
Edinburgh
A Novel

When I was a boy and I sang, my voice felt to me like a leak sprung from a small and secret star hidden somewhere in my chest and whatever there was about me that was fragile disappeared when my mouth opened and I let the voice out. We learned, we were prisons for our voices. You could want to try and make sure the door was always open. Be like a bell, Big Eric would say. But he didn’t know. We weren’t something struck to make a tone. We were strike and instrument both. If you can hold the air and shake it to make something, you learn, maybe you can make anything. Maybe you can walk out of here on this thin, thin air.

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Mona Simpson
1986
Anywhere But Here
A Novel

At Bob’s Big Boy, one day in the summer, my mother and I pressed together in the phone booth and emptied her purse out on the metal ledge. There were hundreds of scraps of paper, pencils, leaking pens, scuffed makeup tubes, brushes woven with a fabric of lint and hair, a bra, and finally, my mother’s brown leather address book, with the pages falling out. We wanted to call my father in Las Vegas. It was already over a year since we’d flown there. The number was written, carefully, in brown ink.

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