Search All Winners

Name Sort descending Genre Year
R. Kikuo Johnson Fiction 2023
Denis Johnson Fiction 1986
Taylor Johnson Poetry 2024
Adam Johnson Fiction 2009
Sarah Stewart Johnson Nonfiction 2021
Jenny Johnson Poetry 2015
R.S. Jones Fiction 1992
A. Van Jordan Poetry 2004
Dan Josefson Fiction 2015
Rajiv Joseph Drama 2009
Hansol Jung Drama 2018
Cynthia Kadohata Fiction 1991
Agymah Kamau Fiction 2003
Ilya Kaminsky Poetry 2005
Joan Naviyuk Kane Poetry 2009
Seth Kantner Fiction 2005
Mary Karr Poetry 1989
Douglas Kearney Poetry 2008
John Keene Fiction 2005
John Keene Poetry 2005
Brigit Pegeen Kelly Poetry 1996
Randall Kenan Fiction 1994
Randall Kenan Nonfiction 1994
Brad Kessler Fiction 2007
Laleh Khadivi Fiction 2008
Sylvia Khoury Drama 2021
Alice Sola Kim Fiction 2016
James Kimbrell Poetry 1998
Lily King Fiction 2000
Linda Kinstler Nonfiction 2023
Brian Kiteley Fiction 1996
Matthew Klam Fiction 2001
Kevin Kling Drama 1993
Wayne Koestenbaum Nonfiction 1994
Wayne Koestenbaum Poetry 1994

Selected winners

Clifford Thompson
2013
Love for Sale and Other Essays

At my desk, with my pen, pencil, markers, ruler, and thick white paper, I was in command. And when I drew the superhero who was my alter-ego, I gave him—i.e., myself—what in all my shyness I didn’t have: a girlfriend. She was as pretty as my limited skills could make her. Her name was Laura.

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Samuel Hunter
2012
A Bright New Boise
A Play

ALEX: I get panic attacks over nothing. Absolutely nothing. I’ll be at work, or at home, or at school, and suddenly I’ll start shaking and I won’t be able to breathe.

 

          (pause)

 

School counselor says that it might be a chemical imbalance. Or, she says, it might have something to do with my past. I think it has something to do with my past, so if you’re my father, it’s probably your fault.

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Yannick Murphy
1990
Stories in Another Language

I thought, I bet the daughter’s glad she’s dead, because what her mother was doing, throwing herself into the grave on top of the box like that, looked funny. It looked funny because her mother was fat, and it looked so much like the mother was doing the Fat Man Dance, because her arms were spread out too, as if she were waiting for her daughter to spread out her arms also, and then they could hold hands and smack bellies together and dance in circles on the box just the way we always did in the summer when we did the Fat Man Dance. Because we always did the Fat Man Dance in the summer when we ran around with no clothes on and danced a lot because it was summer.

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Kerri Webster
2011
We Do Not Eat Our Hearts Alone
Poems

Voluptuous, then merely sticky: to absorb him through my palms. We

were as Danes in Denmark, thus I thought bathwater and longingly,

thought how kneeling hurts the knees, then ghost-gravel. I was

Marriott-air-conditioned unto arctic, not remedied by his warmth

an inch east. I thought surely the ice must calve, then forthwith. Or

was it Ramada, Ramada. In those stories, men stitch coarse blankets

together and spoon, or Strauss-waltz on blinding ice. In those stories,

such measures save no one. What does: deep consummation; marrow

from a shinbone.

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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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