Search All Winners

Name Sort descending Genre Year
Samuel Kọ́láwọlé Fiction 2025
Tony Kushner Drama 1990
Natalie Kusz Nonfiction 1989
Suji Kwock Kim Poetry 2006
Catherine Lacey Fiction 2016
Mary LaChapelle Fiction 1988
Rattawut Lapcharoensap Fiction 2010
Rickey Laurentiis Poetry 2018
Victor LaValle Fiction 2004
Andrea Lawlor Fiction 2020
Amy Leach Nonfiction 2010
Li-Young Lee Poetry 1988
Hilary Leichter Fiction 2026
Suzannah Lessard Nonfiction 1995
Dana Levin Poetry 2005
Mark Levine Poetry 1993
Yiyun Li Fiction 2006
Ralph Lombreglia Fiction 1998
Ralph Lombreglia Nonfiction 1998
Layli Long Soldier Poetry 2016
Claire Luchette Fiction 2025
Ling Ma Fiction 2020
Nathaniel Mackey Fiction 1993
Nathaniel Mackey Poetry 1993
Rosemary Mahoney Nonfiction 1994
Terese Marie Mailhot Nonfiction 2019
Megha Majumdar Fiction 2022
Mona Mansour Drama 2012
Micheline A. Marcom Fiction 2006
J.S. Marcus Fiction 1992
Ben Marcus Fiction 1999
Anthony Marra Fiction 2012
Dionisio D. Martínez Poetry 1993
Nina Marie Martínez Fiction 2006
Cate Marvin Poetry 2007

Selected winners

Ralph Lombreglia
1998
Make Me Work
Stories

The statue’s resting place looked pretty good. All she really had to do was get him deep enough so the dogs didn’t dig him up before the sale. After her exertions over his tomb, the hollow Saint Joseph seemed to weigh nothing in her hand. He seemed to float in space before her eyes. She set him down on his back in the hole, but found that she couldn’t shovel the dirt on top of him, not right on his face like that. She turned him face-down, but that seemed worse. When she picked him up again, half-frozen dirt had sifted into his open base. You could see it through the translucent, cream-colored skin: Saint Joseph turning brown as he filled up with soil.

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Jorie Graham
1985
The Dream of the Unified Field
Selected Poems 1974-1994

There was a space across which you and your shadow, pacing,

        broke,

and around you pockets of shadow, sucking, shutting.

        By now the talk had changed.

There was a liquid of wall and stove and space-behind-the-stove.

        And x where the mirror had been.

And x where the window had been.

       And x where my hand slid over the tabletop breaking a glass.

 

There were shadows in the shadows, and in there were cuts.

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Liza Birkenmeier
2025
Grief Hotel
A Play

WINN – How’s Melba?

EM – She told me she could see the afterlife.

WINN – What’s it like?

EM – Or my afterlife. She said that I would be a few other things when I die, that my cells have tiny souls so when I am a piece of cheese and a pigeon, I will still be me, but my consciousness will be broken down into smaller bits.

WINN – Does that feel happy to you?

EM – I don’t care. I’ll be like a deconstructed sandwich. / Or baby.

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Mia Chung
2023
Catch as Catch Can
A Play

THERESA

I’m worried she’ll be a fish out of water.

 

ROBERTA

When do we meet her? When’re they movin’?


THERESA

Not now. Soon. We’ll see. They’re waiting to see if Mingjing can transfer jobs.


            ROBERTA puts down her cookie.


ROBERTA

What’s her name?

 

THERESA

Minjung.


ROBERTA

Theresa.


            THERESA sips tea.


THERESA

She’s in architecture, works for a big firm out there

 

ROBERTA

(indicating the under-eye skin) Those dark circles, no wonder.

 

THERESA

But she might give it up and teach.

 

ROBERTA

You seen her only once?

 

THERESA

Tim never said any—why would I think

 

ROBERTA

Such a rush.

 

THERESA

My brain’s exploded.

 

ROBERTA

I knew it: how far gone is she?

 

Note: A male actor plays the roles of both THERESA and her son TIM. A second male actor plays the roles of both ROBERTA and her son ROBBIE.

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Jess Row
2003
The Train to Lo Wu
Stories

Rising at four, the students bow to the Buddha one hundred and eight times, and sit meditation for an hour before breakfast, heads rolling into sleep and jerking awake. At the end of the working period the sun rises, a clear, distant light over Su Dok Mountain; they put aside brooms and wheelbarrows and return to the meditation hall. When it sets, at four in the afternoon, it seems only a few hours have passed. An apprentice monk climbs the drum tower and beats a steady rhythm as he falls into shadow.

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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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