Search All Winners

Name Sort descending Genre Year
John McManus Fiction 2000
James McMichael Poetry 1995
Scott McPherson Drama 1991
Jane Mead Poetry 1992
Suketu Mehta Fiction 1997
Suketu Mehta Nonfiction 1997
Morgan Meis Nonfiction 2013
Ellen Meloy Nonfiction 1997
Michael Meyer Nonfiction 2009
Meg Miroshnik Drama 2012
Albert Mobilio Poetry 2000
Albert Mobilio Fiction 2000
Gothataone Moeng Fiction 2024
C.E. Morgan Fiction 2013
Wright Morris Fiction 1985
Wright Morris Nonfiction 1985
Sylvia Moss Poetry 1988
Thylias Moss Poetry 1991
Brighde Mullins Drama 2001
Nami Mun Fiction 2009
Manuel Muñoz Fiction 2008
Yannick Murphy Fiction 1990
Yxta Maya Murray Fiction 1999
Lawrence Naumoff Fiction 1990
Nana Nkweti Fiction 2022
Howard Norman Fiction 1985
Bruce Norris Drama 2006
Josip Novakovich Fiction 1997
Josip Novakovich Nonfiction 1997
Sigrid Nunez Fiction 1993
Dennis Nurkse Poetry 1990
Antoinette Nwandu Drama 2018
Geoffrey O'Brien Nonfiction 1988
Patrick O'Keeffe Fiction 2006
Chris Offutt Fiction 1996

Selected winners

Jake Skeets
2020
Eyes Bottle Dark with a Mouthful of Flowers

We unyoke owl pellets from marrow

in desert meadow. His mouth a pigeon eye,

 

a torch, a womb turned flower. He, still a boy

dug from cactus skull, undresses into bark

 

beetles. He unlearns how to hold a gist

with my hand.

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Diannely Antigua
2020
Ugly Music

The last time I cried to your picture

was the anniversary of my grandmother’s death.

It was about her and you and how

all the things I could touch would disappear,

like your hand or dirty boxers on the floor,

or the liver spots on her arms, the space

of her missing tooth.

 

I’ve been having that dream again.

The one where I make a fortune selling my used underwear 

and I buy her a tombstone. 

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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

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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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Lydia Peelle
2010
Reasons for and Advantages of Breathing
Stories

Panther. Painter. Puma. Cougar. Mountain lion. Whatever you want to call it, by the end of October, half a dozen more people claim they have caught a glimpse of it: a pale sliver in the distance, a flash of fur through the trees. In the woods, hunters linger in their tree stands, hoping they might be the next. In the houses, the big cat creeps nightly, making the rounds of dinner tables and dreams.

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Rinne Groff
2005
The Ruby Sunrise
A Play

LULU: Mr. Marcus, I didn’t even want to waste your time. Pride and Prejudice is not a book that makes for a teleplay.

 

MARTIN: Philco’s killing us with the class acts.

 

LULU: There’s more to classy material than rich people in mansions talking in high-class accents. There are stories to tell about the little guy, an American guy, and the contributions they make; or even fail to make. You see a bum on the street, or a woman yelling at her kids after working in a factory all day, but to really understand what causes that behavior… Each of these people had goals; they had dreams; they had disappointments. TV can get inside that, can get close, and be honest about it. That’s what’s classy.

 

MARTIN: So no more period pieces?

 

LULU: If they’re topical.

 

MARTIN: Pride and prejudice: sounds topical.

 

LULU: It’s about marriage. Today’s audience has more on their mind than who marries who.

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