March 22, 2017 Whiting Awards 2017 Say Hello to the 2017 Whiting Honorees By Dan Piepenbring Honorees clockwise from top left: Phillip B. Williams, Kaitlyn Greenidge, Lisa Halliday, Simone White, Clarence Coo, Clare Barron, Francisco Cantú, James Ijames, Jen Beagin, Tony Tulathimutte. For the third consecutive year, The Paris Review Daily is pleased to announce the ten winners of the annual Whiting Awards. Drum roll, please—they are: Clare Barron, drama Jen Beagin, fiction Francisco Cantú, nonfiction Clarence Coo, drama Kaitlyn Greenidge, fiction Lisa Halliday, fiction James Ijames, drama Tony Tulathimutte, fiction Simone White, poetry Phillip B. Williams, poetry We’re proud to have selected writing from all the Whiting honorees, too. Click each name above to read on—you’ll discover work by some of the best writers of their generation, astonishing in its breadth and depth. If you need further evidence of their creativity, here’s a random profusion of the nouns they use: blue cheese, lotion, pantslessness, dark desert nights, the subjunctive, spoiled-milk breath, “Q-TIPS!!!”, infrastructure, pepperoni-size ear gauges, black-ass tumbleweed, Bone Thugs-N-Harmony, and one Mr. Disgusting. This Thursday, March 23, New Yorkers can hear all of these wonders firsthand, as the honorees read at McNally Jackson, introduced by Rowan Ricardo Phillips (Whiting 2013). If you’re wondering what all this “Whiting” is: Founded in 1985, the Whiting Awards, of fifty thousand dollars each, are based on “early accomplishment and the promise of great work to come.” The program has awarded more than six million dollars to some 320 writers and poets, including Colson Whitehead, Suzan-Lori Parks, Alice McDermott, Akhil Sharma, David Foster Wallace, August Wilson, Tracy K. Smith, Tarell Alvin McCraney, Jeffrey Eugenides, and The Paris Review’s own Mona Simpson and John Jeremiah Sullivan. Click here for a list of all the previous honorees. Congratulations to this year’s honorees! For more great writing from past recipients, check out our collections from 2015 and 2016 winners.
March 22, 2017 Whiting Awards 2017 Phillip B. Williams, Poetry By Whiting Honorees Phillip B. Williams. Photo by Rachel Eliza Griffiths. Phillip B. Williams is the author of Thief in the Interior, a finalist for an NAACP Image Award, and winner of the 2017 Kate Tufts Discovery Award. He received a 2013 Ruth Lilly Fellowship and is the co-editor-in-chief of the online journal Vinyl. He is currently visiting professor in English at Bennington College. He lives in Portland, Oregon. * “Do-rag” O darling, the moon did not disrobe you. You fell asleep that way, nude and capsized by our wine, our bump n’ grind shenanigans. Blame it on whatever you like; my bed welcomes whomever you decide to be: hung- mistress, bride’s bouquet, John Doe in the alcove of my dreams. You can quote verbatim an entire album of Bone Thugs-N-Harmony with your ass in the air. There’s nothing wrong with that. They mince syllables as you call me yours. You don’t like me but still invite me to your home when your homies aren’t near enough to hear us crash into each other like hours. Some men have killed their lovers because they loved them so much in secret that the secret kept coming out: wife gouging her husband with suspicion, churches sneering when an usher enters. Never mind that. The sickle moon turns the sky into a man’s mouth slapped sideways to keep him from spilling what no one would understand: you call me god when it gets good though I do not exist to you outside this room. Be yourself or no one else here. Your do-rag is camouflage-patterned and stuffed into my mouth. Read more work from the 2017 Whiting Award honorees.
March 22, 2017 Whiting Awards 2017 Clarence Coo, Drama By Whiting Honorees Clarence Coo. Photo by Joey Stocks. Clarence Coo received the 2012 Yale Drama Series Prize for Beautiful Province (Belle Province). His honors include a Rita Goldberg Fellowship at The Lark, a Dramatists Guild Fellowship, and a 2016 NYFA Fellowship. He received his MFA in Playwriting at Columbia University. He is a resident playwright at New Dramatists and a member of the Ma-Yi Writers Lab. He lives in New York, where he is the manager of academic administration of Columbia’s MFA Writing Program. Read More
March 22, 2017 Whiting Awards 2017 Tony Tulathimutte, Fiction By Whiting Honorees Tony Tulathimutte. Photo by Lydia White. Tony Tulathimutte is a graduate of Stanford University and the Iowa Writers’ Workshop. He has written for The New York Times, The New Yorker, VICE, N+1, The Atlantic, and elsewhere. His work has received an O. Henry Award and a MacDowell Fellowship. Private Citizens was published by William Morrow in 2016, and was named a best book of the year by The New Yorker, The Guardian, The Atlantic, and Buzzfeed, among others. He lives in Brooklyn. * An excerpt from Private Citizens: Roopa stood at the stove in a capital R, a hand bracing her tailbone and one leg stretched back, with her waxy black hair tressing down like a stripe of brushed pitch, ending in a horizontal slash at midwaist. Her face was babyish and marsupial-thin. She wasn’t ravishing, but she wasn’t unattractive, but men definitely treated her as if she were ravishing. She wore a blue apron over a brown dress with the sleeves ripped off. Cast-iron pans and stew pots were stationed over all four burners. “Oh, you should’ve told me you were home, I would’ve made more,” Roopa said. “It’s potato hash with fennel and rosemary and Niman Ranch bacon and tempeh. And TVP.” “It’s okay, thanks,” Cory said. “I found chèvre too. The Trader Joe’s ones are ginormous. And they throw it out fully wrapped. Think how many landfill acres are taken up just by airtight cheese. Sure you don’t want any?” “Yeah, no, I’m good.” “Really? You sure?” “Thanks, I’m fine.” Cory opened the refrigerator. It was a maddening presence—always on, drawing an eighth of their electricity, just to store food. It carried a permanent stench of chilled compost and was crammed with communal groceries; Cory spent an eternity rearranging items to get to her week-old bok choy stir-fry leftovers. It was greasy, awfully greasy. She could do radishes and hummus for fiber, soy milk for protein, liquid amino for more protein. She took out the hummus and the soy milk and put the hummus back in and borrowed a nectarine from Jinnie’s shelf, and then took the hummus out again, jogging it in her hands to ponder its mass, its lipids and carbs, though she already knew all the numbers to the tenth decimal. Also she’d heard this particular hummus had done something bad to Palestine. Her hunger stabbed her; she tossed the hummus back in the fridge and took out her Tupperware of stir-fry. She just wouldn’t eat the whole thing. “That’s your dinner?” Roopa said, in that sympathetic/annoyed tone you used with confused foreign tourists. “Where’s the flavor? Aren’t you at least going to heat it up and plate it?” “Nah.” Roopa turned to the stove and mounded a plate with a few hundred thousand calories of glistening tempeh. The odor made Cory’s saliva salty. “Try this. It’s yummy and it’s totally sanitary. Nom nom.” “Thanks, Roop, but I gotta eat this—” “Before it goes bad? That’s so depressing. It probably doesn’t even have any nutrients after all that refrigeration. Try my food. I know it seems gross to eat ‘garbage,’ but people have to get over that.” Cory laid her things on the kitchen counter. When she had first moved to the city, the plan had been to recruit kindred progressives into the warehouse, maybe becoming one of those Bay Area cultural polestars. She first met Roopa at Socialize’s garden harvest potluck three months ago, and, spotting a potential girlfriend or roommate or both, Cory had approached Roopa and smoked her out. As Cory wondered how to broach Roopa’s sexual and political alignments, Roopa was already headed straight for those topics: two years at Oberlin as a sexual health advisor who practiced what she preached, a year in South America for her anthropology thesis (“Recuperating Presence: The Immediacy of Indigene Consciousness”—in lieu of Eurocentric written documents, she’d produced photo-graphs and small beaded weavings). Then she’d dropped out for culinary school in Boston, dropping out again to couch-surf California. In Cory’s stoned brain, Roopa had seemed ideal, and they moved her in ASAP. But it turned out they weren’t equally political, just equally pedantic. At first Cory had been thrilled that Roopa attended Socialize events, but Roopa would keep offering unsolicited advice (“I still think marriage equality isn’t the issue. We need to abolish marriage”). In turn, Roopa brought Cory to her anarchist “salons”—usually potlucks or homebrewed pickle tastings at other collectives, where discussions played on conspiratorial themes: 9/11 was an inside job, canned tomatoes caused Parkinson’s, etc. An urban primitive with pepperoni-size ear gauges wondered aloud if heterosexual intercourse was “inherently degrading.” Cory got through it only by pretending she was conducting an anthropological study of failed radicalism. Roopa understood Cory’s lack of enthusiasm as liberal wimpiness, which she liked taking potshots at, like now. “I think,” Cory said, “we can divest from industrial monoculture instead of relying on its waste. You know how they say benefit is complicity.” “The real waste would be to let food spoil for an empty gesture.” “Couldn’t we put community pressure on supermarkets to reduce waste in the first place?” “The fact is”—Roopa sucked a crumb that had fallen on her apron—“that the waste is there now, and it supports indigent communities.” “Well, you’re right about that. Is it really okay for people like us to take free food we don’t need?” “There’s plenty for everyone. Also, I’m not exactly well-off.” Roopa laughed. “I’d starve if I didn’t hit the Dumpsters. It’s not like I’m exploiting food stamps. I’m part of the working poor.” Somehow Roopa got by, part-time and under the table, freelancing as a food photographer and botanical illustrator. Cory didn’t want to have to explain the distinction between poor and broke. Spurning the nine-to-five was fine, but Cory suspected Roopa’s work ethic was rooted in a determination to feel good about feeling good. Still, it was baffling how Roopa could afford San Francisco on freelance wages. Cory did take food stamps. “I think you just get off on guilt,” Roopa said, closing her eyes and making cumming noises as she forked up a mouthful of hash and worked it around in her mouth without chewing. Cory’s eyelids glitched. “I wasn’t saying Dumpster-diving is immoral. I was only thinking maybe it’d be best not to create a social institution dependent on corporate excess.” “We’re redeeming the waste. It’s putting ideals into action on the most basic level.” “Spending half a day making dinner, that’s ‘action’?” “That’s the role food should play in people’s lives. Food is culture, just like songs and paintings. I’ve had meals that made me cry. Some people are visual, others are tactile, and actually I’m a synesthete so I’m kinda both, but I also get so much meaning in through my mouth.” But so painfully little out from her mouth …“Well, air is important too. Should we spend hours every day working on breathing?” “Doy. Ever heard of yoga? I’m only sort of kidding.” Cory wouldn’t win. Roopa was rigid, the way free spirits often were, about the romance of naturopathy and well-being as morality. Photographing meals, food blogging, recreational fasting—all that time committed to sweeping the steps of her temple. It was at least as disordered as what Cory had. There was this spin, this indulgent spin to Roopa’s charity: when she did relief in Chile, she returned with a copper-goddess tan; if she volunteered for a bake sale, it was because she enjoyed baking. Her diet was another slick win-win rationalization of glut. Good intentions notwithstanding, that was the lemon-meringue heart of her frankly dipshit worldview: that merely observing selective austerities—abstaining from work, from money—was activism, when really it was shallow passivism … Roopa turned off the burners and unlaced her apron. She never looked tired. “Honestly,” Roopa said, “people who shop in supermarkets should be forced to spend a day in a cage, like factory chickens. And those of us who didn’t go to Stanford don’t have the option to buy bougie farmer’s market greens.” Like Cory was so rich! As if she lorded her diploma around! She hated that no matter what she did, her achievements redounded to a massively endowed, for-profit corporation—Stanford, Inc. But complaining about this would make her seem even more stuck-up. “Yeah, okay, Roopa? First of all, you went to Oberlin. Second, I’m just as broke as you, and my degree means nothing in the nonprofit world—well, I know privilege is invisible, but …” Cory pressed a thumb to her temple, where an éclat of migraine was about to light up a deep furrow of her brain. “Look, we both hate consumer waste. I prefer a policy approach, and you—well, you tell me.” Roopa leaned in and seized Cory’s hand. Cory hated rhetorical touching. “All politics are spiritual issues first,” Roopa said. Read more work from the 2017 Whiting Award winners.
March 22, 2017 Whiting Awards 2017 James Ijames, Drama By Whiting Honorees James Ijames. Photo by Kim Carson. James Ijames is a Philadelphia-based actor and playwright. A founding member of Orbiter 3 Playwright Producing Collective, a member of the InterAct Core Writers Group, and a mentor for The Foundry, he is a recipient of the F. Otto Haas Award for an Emerging Artist, the Terrence McNally New Play Award for WHITE, and the 2015 Kesselring Honorable Mention Prize for The Most Spectacularly Lamentable Trial of Miz Martha Washington. He is an Independence Foundation Fellow and a 2015 Pew Fellow. He received a BA in Drama from Morehouse College and a MFA in Acting from Temple University, and is Assistant Professor of Theatre at Villanova University. He lives in South Philadelphia. * An excerpt from The Most Spectacularly Lamentable Trial of Miz Martha Washington: (Music. Lights. The room suddenly becomes something of a vodun ceremony. Dancing that spins through the space. The Chorus becomes possessed. Martha rushes back to her bed. First moment of Real Terror. Red streaks of light flash across the room. The sound and frenzy build to a climax. Martha hides below the covers. Big finish! Silence. The Chorus disappears. A few seconds later, Martha emerges from beneath the covers. Sitting at a desk we see MR. LAWYER MAN. He is dressed in contemporary suit. He is looking over stacks and stacks of files.) MARTHA Sucky Boy? MR. LAWYER MAN No Ma’am. MARTHA Who are you? MR. LAWYER MAN Mr. Lawyer Man. (clipped) Evening. It’s a huge honor. I’m a big fan. You look great. MARTHA … Thank you … but you’re … (whispering) You’re a negra. MR. LAWYER MAN Yes. MARTHA So you can’t be a lawyer— MR. LAWYER MAN —Weeeeeeeeeeell technically— MARTHA Would you please get out of my bedroom? MR. LAWYER MAN I have been hired to come and help you with the state of your estate. MARTHA But I’m not dead. MR. LAWYER MAN That is inconvenient, isn’t it. Now … it is my advice to you … as legal counsel for the deceased, one Mister … (checks his files) George Washington. That you, being his most direct benefactor, should with all deliberate speed and effectiveness, free the slaves that have been, from the moment of his death, under your charge and care. Ab Initio of the activation of Mr. Washington’s Last Will and Testament, the circumstances of the living property of Mount Vernon have (searches for the best word) shifted. MARTHA What?! MR. LAWYER MAN Henceforth and such and such, it would serve the de facto slaveholder, uh that’s you, Mrs. Washington, to be rid of the slaves the aforementioned slaveholder is currently keeping, clothing, and feeding. Shelter is running out, as Mount Vernon has accommodations for no more than one hundred and sixty slaves, give or take the baby in the dresser drawer upstairs. I have done an extensive review of the plantation’s assets. In addition to the aforementioned expense of said slaves, I give a further caution. I am concerned about the protection and well being of the slaveholder in the absentia of Mr. Washington. The slaves’ awareness of the circumstances surrounding their future emancipation has created a heightened state of hostility between the aforementioned Mrs. Washington and said slaves. MARTHA You’re good! What does all of that mean? MR. LAWYER MAN Ipso facto … get rid of ’em fo they get rid of you? MARTHA That’s the advice!? MR. LAWYER MAN Well yes. MARTHA No. MR. LAWYER MAN Great so … wait … No? MARTHA That’s right. MR. LAWYER MAN But uh— MARTHA (matter-of-factly) —That’s the most ridiculous thing I have ever heard. Do you suggest that I take to plowing fields and washing floors as well? Who’s going to take care of me?! (Mr. Lawyer Man stares blankly at her. “Is she serious?”) MARTHA Why are you looking at me like that? MR. LAWYER MAN You really think you need two hundred slaves to take care of you? MARTHA Yes. MR. LAWYER MAN Well, as your lawyer I suggest— MARTHA —George! He sent you! Where is he? MR. LAWYER MAN Mr. Washington is currently indisposed. MARTHA INDISPOSED! MR. LAWYER MAN Easy now. MARTHA Well! I never! In all my … How am I supposed to function without slaves? I’m an old woman. MR. LAWYER MAN Old Uncle Ned is old. He’s older than you in fact and yet…he manages to make his own breakfast eeeeeeeeeeevery morning and pick his own tobacco eeeeeeeeeeevry day. And bring you breakfast eeeeeeeeeeevery day. Doesn’t it seem strange to you that you can’t do the same…seems strange, Martha…seems strange. MARTHA If memory serves me correctly, George didn’t seem to mind Ned shining his boots. MR. LAWYER MAN I’m not at liberty to discuss Mr. Washington’s morals. But…can’t a man change his mind? Can’t a man see the error of his ways? Hindsight, Martha. Hindsight! MARTHA You expect me to free them…all of them? (Mr. Lawyer Man checks his file … beat.) MR. LAWYER MAN Yes, that would be correct. MARTHA I don’t know. Why didn’t he do this when he was alive? MR. LAWYER MAN It seems Mr. Washington required a large support infrastructure. Running a new nation and all– MARTHA —No really. Now that it’s just me it’s a splendid idea. Do I have that right? MR. LAWYER MAN Do the right thing, Martha. MARTHA I quite like my life. I think I shall keep it exactly the way it is. MR. LAWYER MAN Do you think that’s … wise. MARTHA … Yes… MR. LAWYER MAN Your call. Oh! Will you look at the time. I have to scoot … MARTHA Where are you going … you … just got here. Don’t you want to … stay a while? MR. LAWYER MAN No can do. Read more work from the 2017 Whiting Award winners.
March 22, 2017 Whiting Awards 2017 Francisco Cantú, Nonfiction By Whiting Honorees Francisco Cantú. Francisco Cantú served as a border patrol agent for the United States Border Patrol from 2008 to 2012. A former Fulbright fellow, he recently received an MFA in Nonfiction from the University of Arizona. His essays and translations appear frequently in Guernica, and his work can also be found in The Best American Essays 2016, Ploughshares, and Orion, among others. He lives in Tucson, Arizona. The Line Becomes a River will be published by Riverhead Books in February 2018. Read More