April 14, 2021 Whiting Awards 2021 Steven Dunn, Fiction By Steven Dunn Steven Dunn. Photo: Beowulf Sheehan. Steven Dunn, aka Pot Hole (cuz he’s deep in these streets) is the author of two novels from Tarpaulin Sky Press: Potted Meat (2016) and water & power (2018). Potted Meat was a finalist for the Colorado Book Award, and shortlisted for Granta Magazine’s Best of Young American Novelists, and adapted to a short film by Foothills Productions. The Usual Route has played at L.A. International Film Festival, Houston International Film Festival, and others. He was born and raised in West Virginia, and teaches in the M.F.A. programs at Regis University and Cornell College. * An excerpt from Potted Meat: LOSE A TURN Grandma thinks I’m her husband again. He died before I was born. She says to me, Remember when you came home from the mines all dirty and took me dancin. Yeah, I say, we had big fun. And that one gal, she says, whats her name, you know, that slew-footed heffa, the one starin at you. Aw cmon now, I say, that was nuthin, you know I only got eyes for you. Grandma slips back in. She says, Boy, you wash them dishes yet. I was just about to, I say. Well what you waitin on. She changes the channel to Wheel of Fortune and solves a puzzle before I do, and before the people on the show do. Them some slow-ass folks on that show, she says. A commercial comes on. She looks at me. That was a real nice date, huh, dontcha remember. Read More
April 14, 2021 Whiting Awards 2021 Jordan E. Cooper, Drama By Jordan E. Cooper Jordan E. Cooper. Photo: Beowulf Sheehan. Jordan E. Cooper is an OBIE Award–winning playwright and performer who was most recently chosen to be one of OUT Magazine’s “Entertainer of the Year.” Last spring he had a sold out run of his play Ain’t No Mo’, a New York Times Critics Pick. Jordan created a pandemic-centered short film called “Mama Got A Cough” that’s been featured in National Geographic and was named “Best of 2020” by the New York Times. He is currently filming The Ms. Pat Show, an R-rated “old school” sitcom he created for BET+, which will debut later this year. He can also be seen as “Tyrone” in the final season of FX’s Pose. * An excerpt from Ain’t No Mo’: ZAMATA: Free? WOMAN: (To TV) Bitch said free. ZAMATA: What free? WOMAN: (To TV) What country? NEWSWOMAN: Land of the free. WOMAN: (To TV) What free? ZAMATA: What land? NEWSWOMAN: This land. Read More
April 14, 2021 Whiting Awards 2021 Joshua Bennett, Poetry and Nonfiction By Joshua Bennett Joshua Bennett. Photo: Beowulf Sheehan. Joshua Bennett is the author of three books of poetry and literary criticism: The Sobbing School (Penguin, 2016), Owed (Penguin, 2020), and Being Property Once Myself (Harvard University Press, 2020), which was a winner of the Thomas J. Wilson Memorial Prize. He is the Mellon Assistant Professor of English and Creative Writing at Dartmouth College. Bennett holds a Ph.D. in English from Princeton University, and an M.A. in Theatre and Performance Studies from the University of Warwick, where he was a Marshall Scholar. He has received fellowships from the National Endowment for the Arts, the Massachusetts Institute of Technology, the Ford Foundation, and the Society of Fellows at Harvard University. His writing has appeared in The Nation, the New York Times, The Paris Review, Poetry, and elsewhere. His next book of creative nonfiction, Spoken Word: A Cultural History, is forthcoming from Knopf. * An excerpt from “Where Is Black Life Lived?”: I’ve been thinking quite a bit recently about the role of air in African American letters. The people that could fly. Eric Garner. Christina Sharpe highlighting the link between anti-black racism and the weather. It bears remembering. For the legal studies scholar and foundational critical race theorist Derrick Bell, one of the first characteristics of the black utopia he describes in his classic vignette, “Afrolantica Awakening,” is that it is simply a place where we can breathe. A space of celebration and retreat, somehow flourishing both inside and beyond the constraints of the present order. The sanctuary; the dancehall; my grandmother’s salon, glistening at a distance. When we turn to the written page, where is Black life lived? Anywhere. Everywhere. Underwater, outer space, underground. Even where there is no air at all. We imagine it as if it were otherwise. We conjure a world that is worthy of us. And then we gather there: unbowed, unburied, unabashed in our joy. Read More
April 14, 2021 Whiting Awards 2021 Introducing the Winners of the 2021 Whiting Awards By The Paris Review For the seventh consecutive year, in 2021 The Paris Review Daily is pleased to announce the winners of the Whiting Awards. As in previous years, we’re also delighted to share excerpts of work by each of the winners. Here’s the list of the 2021 honorees: Joshua Bennett, poetry and nonfiction Jordan E. Cooper, drama Steven Dunn, fiction Tope Folarin, fiction Donnetta Lavinia Grays, drama Marwa Helal, poetry Sarah Stewart Johnson, nonfiction Sylvia Khoury, drama Ladan Osman, poetry Xandria Phillips, poetry Since 1985, the Whiting Foundation has supported creative writing through the Whiting Awards, which are given annually to ten emerging writers in fiction, nonfiction, poetry, and drama. The awards, of $50,000 each, are based on early accomplishment and the promise of great work to come. Previous recipients include Lydia Davis, Deborah Eisenberg, Jeffrey Eugenides, Tony Kushner, Sigrid Nunez, Rowan Ricardo Phillips, Mona Simpson, John Jeremiah Sullivan, and Colson Whitehead. Explore all the winners here. Congratulations to this year’s honorees. And for more great writing from Whiting Award recipients, check out our collections of work from the 2015, 2016, 2017, 2018, 2019, and 2020 winners.
April 14, 2021 Off Menu Dial D for Dinner By Edward White In Off Menu, Edward White serves up lesser-told stories of chefs cooking in interesting times. Alma Reville with a wax figure of Alfred Hitchcock’s head, 1974. © Philippe Halsman/Magnum Photos. Within the shifted reality of an Alfred Hitchcock movie there is no steady fact of existence that cannot be undermined. The ambiguity extends even to food and drink. In Notorious, Ingrid Bergman’s heroine is poisoned in her own home by a cup of coffee, while homebodies in The Man Who Knew Too Much feel discomfort in foreign lands because of the exotic food they are fed. In mid-twentieth-century America, nothing could be more wholesome and nourishing than a glass of milk—except when it’s handed to an unwitting guest at the Bates Motel as part of her final meal. In his private life, Hitchcock felt the same unease about comestibles. He adored food and the experience of dining but resented the impact that consumption had on his body: “I’m simply one of those unfortunates who can accidentally swallow a cashew nut and put on thirty pounds right away,” he explained. Of the various aspects of Hitchcock’s identity that I wrote about for my book The Twelve Lives of Alfred Hitchcock, it was his existence as a self-described “fat man” that most revealed him as a cultural figure ahead of his time. Hitchcock being Hitchcock—an expert self-mythologizer—he turned his anguish about his appearance into a joke and then exploited its potential for publicity. Though he made his love of food a prominent part of his reputation, he also shared his dissatisfaction with his body image in a way that no male celebrity had ever done, posing for photographs that charted the progression of his weight loss and expressing the pain of counting calories. As with so much else in his life, Hitchcock’s accomplice in this peculiar gastronomic odyssey was Alma Reville, his wife, best friend, longest-serving creative collaborator, and, to quote Hitchcock, “as fine a cook as ever performed miracles in a domestic kitchen.” Their partnership began in the mid-’20s, when Reville worked as Hitchcock’s assistant director on the silent films that launched him to fame in his native Britain. For the next fifty years, she was his steel girder, lending her talents to scriptwriting, casting, editing, and promotion, in both official and unofficial capacities. And at their residences in England and America, it was Reville’s exceptional cooking that made their home a living extension of the Hitchcock screen universe, a place of sensory stimulation, both earthly and transporting. Read More
April 13, 2021 Redux Redux: Come, Be My Camera By The Paris Review Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. Suzan-Lori Parks. Photo courtesy of Parks. This week at The Paris Review, we’re thinking about writing for the screen and stage versus the page. Read on for Suzan-Lori Parks’s Art of Theater interview, James Salter’s short story “The Cinema,” and Claribel Alegría’s poem “Documentary.” If you enjoy these free interviews, stories, and poems, why not subscribe to The Paris Review? You’ll also get four new issues of the quarterly delivered straight to your door. Or, subscribe to our new bundle and receive Poets at Work for 25% off. Suzan-Lori Parks, The Art of Theater No. 18 Issue no. 235 (Winter 2020) I love the process of writing. Whether it’s a TV script or a play, novel, song, or a film script, writing is all the same process. Just the rhythms are different. And where you have to begin and end is different. And how much you can see of a scene is different. What details you need to make a scene. In the novel, there are more words in those details. You can’t just say, “She’s tall and good looking.” You’ve got to let us know how so! Give me specifics. You’ve got to let us know how good looking she is. Read More