Search All Winners

Name Sort descending Genre Year
Jesse McCarthy Nonfiction 2022
Shane McCrae Poetry 2011
Tarell Alvin McCraney Drama 2007
Alice McDermott Fiction 1987
Reginald McKnight Fiction 1995
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
Lara Mimosa Montes Fiction 2026
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

Selected winners

Tarell Alvin McCraney
2007
The Brother/Sister Plays

OGUN SIZE:

So she tells Oya she pregnant with Shango’s baby. Just walked up to Oya with them hips you know and was like my name Shun, I got his baby so you ain’t shit to him. And see Oya can’t have no kids. Everybody know that. Now she scared she gone lose Shango. Which would be good if she left the nigga… But she can’t see that, nah she got to show him how much she willing to do for Shango. How far she willing to go for Shango. So she can’t give him no child, she cut off her ear.

 

OSHOOSI SIZE:

What!

 

OGUN SIZE:

Put it in a bowl and walked it to him while he was watching TV at her house. She ain’ scream or nothing… Cut off her ear and gave it to him. Say, I don’t want nobody but you. Say this mark me as yours…

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Elaine Castillo
2026
Moderation, A Novel

Girlie was, by every conceivable metric, one
of the very best. All the chaff, long ago
burned up by unquenchable fire: the ones who
had hourly panic attacks, the ones who took
up drinking; the ones who fucked in the
stairwells during break time, the ones who
started bringing handguns to the office, the
ones who started believing the Holocaust had
never happened, or that 9/11 was an inside
job, or that no one had ever been to the
moon at all, or that every presidential
candidate was picked by a cosmic society of
devils who communicated across
interplanetary channels; the ones who took
the work home, the ones who never came back
the same, or never came back at all. The
floor was now averaging only three or four
suicide attempts a year, down from one or
two a month. The ones who remained, like
her, were the wheat: the exemplars, tested
paladins, the ones who didn’t throw up in
the hallway and leave the vomit there.
They’d been, to continue speaking of it
biblically, separated. 

From MODERATION by Elaine Castillo, published by Viking, an imprint of Penguin Publishing Group, a division of Penguin Random House, LLC.

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Tyehimba Jess
2006
leadbelly
Poems

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. 

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Brittany Rogers
2026
Good Dress

UPBRINGING

In an alternate version of this story
I grow up in Denver, Colorado, fenced in
by calcareous mountains and thread-thin air. Who might
I have become had we driven eighteen hours overnight to flee
the Red Zone, Chiron lighting the sky, Detroit’s bass chasing behind?
I imagine Denver homes are large. Ivy clings to the wall
like sap. I imagine I could have walked to school unguarded, no knife
pressed to my ankle in fresh Js my mama wouldn’t buy in the City.

Once the factories stripped the grass of its green, she was willing to leave
her mama on Jane Street and my aunties scattered from Cadieux to Van Dyke.

A diamond band convinced her to stay, but she models
what could still become of me: slips and stockings,
subdivisions, propriety. I could have run when I had the chance
but I’m a daughter of the East Side, that old girl set in her ways.

I grew a mouth like the grown men in my hood. Bouquet of tattoos
across my shoulders. Where brown hair was, a field of watercolors.
 

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Karen Hao
2026
Empire of AI

Over the years, I’ve found only one metaphor
that encapsulates the nature of what these AI
power players are: empires. During the long
era of European colonialism, empires seized
and extracted resources that were not their
own and exploited the labor of the people
they subjugated to mine, cultivate, and
refine those resources for the empire’s
enrichment. They projected racist,
dehumanizing ideas of their own superiority
and modernity to justify—and even entice the
conquered into accepting—the invasion of
sovereignty, the theft, and the subjugation.
They justified their quest for power by the
need to compete with other empires: In an
arms race, all bets are off. All this
ultimately served to entrench each empire’s
power and to drive its expansion and
progress. In the simplest terms, empires
amassed extraordinary riches across space and
time, through imposing a colonial world
order, at great expense to everyone else.
 

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