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
Nina Marie Martínez Fiction 2006
Dionisio D. Martínez Poetry 1993
Cate Marvin Poetry 2007

Selected winners

Molly Gloss
1996
The Jump-Off Creek
A Novel

Every thing I own save the poor Beasts is in a heap here in the center of this room and if I mean to keep it whole I must before I sleep cover all against the leaking, rake old tins & leavings outside the door, burn a camphor stick against vermin, set my few mouse traps along the walls. And hope for better Weather & Strength in the days coming. I have put out in the night the 2 boys I found here, they had taken up living in the empty house. Those were Troubles I could not borrow, as I am scarce likely to make my own living in this poor place and coming West I have seen idle men Everywhere abut in La Grande and Boise and Missoula and in the Papers woeful news of the falling price of Wheat & Cattle both. They were polite & forebearing, for which reason I am sorry.

Read More >
Hilary Leichter
2026
Terrace Story

The old window gave a grand view of Yellow Tree, trunk to branch. They called it Yellow Tree even though the gingko was yellow for only about a week each year, its fan-shaped leaves rustling to the ground at the first suggestion of a breeze. Annie and Edward held the baby to the window and said, “See? Yellow!” But she was too small to say “yellow” in response. She just looked and watched and touched the glass. They wiped her fingerprints from the window and kissed the fingers that made the prints. Then the leaves fell, and the scenery changed. Some views show less than half of what needs seeing.

When the rent became unpayable, they went in search of a more affordable living situation. What’s your living situation? Annie turned the phrase over in her mind, the situation of their life. They had not saved nearly enough for a broker’s fee, let alone a security deposit.

“It looks smaller than it really is,” Edward said, leading Annie around the new apartment. A dimly lit lopsided square. “Give it some time, it might grow on you!”

“You mean it might literally grow?” Annie asked.

At the new apartment, there were no views of Yellow Tree. The introverted windows were gated and clasped and huddled around a central shaft that Edward dubbed Pigeon Tunnel. Edward and Annie liked inventing proper nouns for their world. Yellow Tree, Pigeon Tunnel, Closet Mystery. Closet Mystery was Annie’s term for the mystery of their single, overstuffed closet. Upon opening, what would catapult forth? It was a bona fide enigma. Edward and Annie picked a proper noun for their baby too. Her noun was Rose.

Read More >
Aaliyah Bilal
2024
Temple Folk: Stories

The hotel staff placed a pitcher of water on each table next to a small stack of translucent cups. I couldn’t help but shake my head at that. We would have been better off, I figured, taking Imam Saleem’s suggestion and just staying put at the Temple. The kitchen sisters would have at least given us some fruit punch and sugar cookies. Hell, had we asked nice enough, they might have made us some fried chicken and potato salad. If we were trying to throw money around like Rockefellers, why not put it in the building fund or pay zakat? But I was a one-man HVAC operation, with little more than a truck, some tools, and a house I was just three mortgage payments away from owning outright. As far as those brothers were concerned, I was too ordinary, based on outward appearances, to be an example.

Read More >
Jane Mead
1992
The Lord and the General Din of the World
Poems

There is a strange world

in the changing of a light bulb,

the waxing of a bookshelf

I think I could grow by,

as into a dusty dream

in which each day layers

against one just past

and molds the one to come,

content as cabbage

drudging towards harvest.

Read More >
Layli Long Soldier
2016
WHEREAS
Poems

I don't trust nobody

 

             but the land I said

 

I don't mean

 

present company

 

of course

 

you understand the grasses

 

hear me too always

 

present the grasses

 

confident grasses polite

 

command to shhhhh

 

shhh listen

Read More >
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.
 
Read More >