Search All Winners

That I commune with the dead as I oil your feet. My house at the throat of the river, the door to this world, I wait for you. That I ask of the spirit and receive the knowledges: yerbabuena, vela de virgen, baño de alhucema. Cut the joint at the hoof & fatten the soup. Accept this offering, thank the plant. That I love you with the knowledge of our ways lost to violence. That you will call me up from the silt in your bones.

REGGIE
Now see you gonna laugh. Cause you thank everythang I do is funny. It ain’t funny. It’s meant tah teach ya. How I speak? That’s meant tah teach you too. You get older ‘n leave this place...one thing ya gonna remember is the music of ya daddy’s voice. The memory ‘a what made ya. How ya people survived. An’ these little games we play? These little hand games? That’s your history too… ‘cause ya grandmama sat ya mama down when she was smaller ‘n you ‘n they played these games ‘n had the best time that ever was. Then, ya mama taught me ya know that? Shoot, I ain’t wanna learn no little girl games. Imma man! (Laughs.) What I look like playin’ some little girl hand game! But, then we had you. And I taught you. That’s a road map. You ever get lost, you find ya way back home (points to his chest) from them. Understand? And one way or another... I’ll come get you.

To live in the city of El Paso in those days was to hover at the edge of crushing and proximate cruelty, to safely fill the lungs with air steeped in horror. In news, in academic texts, in literature and art, El Paso’s twin city of Juárez was perpetually being presented as a place of murder and violence, a landscape of factories, maquiladoras, drug cartels, narcos, hit men, sicarios, delinquents, military, police, poverty, femicide, rape, kidnapping, disappearance, homicide, slaughter, massacre, shootings, gun fights, turf wars, mass graves, garbage dumps, impunity, corruption, decay, erosion, a hemispheric laboratory of social and economic horror. This representation—the narrative of a city irreparably fractured by its looming border, saddled with broken institutions and a terrorized populace—had become part and parcel of its legacy, the subconscious inheritance of all those who came into the city’s orbit.

From THE LINE BECOMES A RIVER by Francisco Cantu, to be published on February 6, 2018 by Riverhead Books, an imprint of Penguin Publishing Group, a division of Penguin Random House LLC. Copyright (c) 2018 by Francisco Cantu.

The precision of the map allowed Maria to read the planet’s history like a type of braille. As hinted by the initial data, the northern hemisphere proved to be the smoothest surface that had ever been observed in the solar system. Most of the terrain seemed to tilt slightly to the north, suggesting that a planetwide drainage system may have once emptied there, into a great northern ocean. Inscribed onto the surface was even a possible shoreline, Deuteronilus, which could be traced for thousands of kilometers. The coast ran along nearly the same elevation, with variations that could be explained by the ground rebounding, exhaling as the weight of a sea of long-gone water evaporated. With each new detail Maria plotted, another aspect of Mars’s history came to life. 
     Mars Global Surveyor changed what it meant to see a planet. If the old map of Mars was a simple picture, the new map was a portrait. It went beyond what our eyes could take in, capturing data on contours, on composition, on forces we could not see—not just topography but things like magnetic signals and mineral compositions measured out beyond the visible wavelengths. There were subtleties to be seen—we just had to get there, and when we got there, we had to know how to look.

Excerpt(s) from The Sirens of Mars: Searching for Life on Another World by Sarah Stewart Johnson, copyright © 2020 by Sarah Stewart Johnson. Used by permission of Crown Books, an imprint of Random House, a division of Penguin Random House LLC. All rights reserved.

There are no personal phone calls allowed. We do, however, allow for emergencies. If you must make an emergency phone call, ask your supervisor first. If you can’t find your supervisor, ask Phillip Spiers, who sits over there. He’ll check with Clarissa Nicks, who sits over there. If you make an emergency phone call without asking, you may be let go.

Dear Yu Honor

Yu may rmember me when yu visits prison

here I am Walter Boyd Leadbelly #42738

yo best big niger from Sugarland Farm

wit my stella guitar and songs yu like

I play it all like a black machine for yu loud an slow

Down in the valley    What a frend we have in

Jesus an I Sugarland shuffle like pickin cotton far as

eye cn see I need my freedom like yu said yu was gone give me

yur honor all I need a second chance rmembr me

yu sed I was som niger   som niger need they pardon

GOVERNOR

thank yu for yo kind kind hand yo wisdum.

Copyright 2004 by Tyehimba Jess. Published by Verse Press. Reprinted with permission of the author and Wave Books.