March 20, 2019 Whiting Awards 2019 Lauren Yee, Drama By Lauren Yee Lauren Yee. Photo: Joey Yee. Lauren Yee is a playwright born and raised in San Francisco. She lives in New York City. She received her B.A. from Yale University and her M.F.A. in playwriting from University of California, San Diego. Lauren’s work includes King of the Yees, The Great Leap, Cambodian Rock Band, Ching Chong Chinaman, The Hatmaker’s Wife, and others. She has been a Dramatists Guild Fellow, a MacDowell Fellow, and a MAP Fund grantee. She is the winner of the Kesselring Prize and the Francesca Primus Prize. She has been a finalist for the Edward M. Kennedy Prize, the Susan Smith Blackburn Prize, the ATCA/Steinberg Award, and others. The Hatmaker’s Wife was an Outer Critics Circle nominee for the John Gassner Award for best play by a new American playwright. Lauren is a member of the Ma-Yi Theatre Writers Lab, a 2018/2019 Hodder fellow at Princeton University’s Lewis Center for the Arts, and a New Dramatists playwright. * An excerpt from Cambodian Rock Band: CHUM THAT’S why i’m here? you’re going to kill me over that? what i wrote down on a piece of paper?! DUCH i’m going to get someone to do it for me, but yes. CHUM you don’t even know what that is. DUCH CIA code, obviously. CHUM but if brother number one wants to know what it means? what will you tell him? how will you explain it? DUCH it’s a message. to your operatives, that’s what it is. Read More
March 20, 2019 Whiting Awards 2019 Vanessa Angélica Villarreal, Poetry By Vanessa Angélica Villarreal Vanessa Angélica Villarreal. Photo courtesy of the author. Vanessa Angélica Villarreal was born in the Rio Grande Valley. She is the author of the collection Beast Meridian (Noemi Press, Akrilica Series, 2017), a 2019 Kate Tufts Discovery Award finalist and winner of the John A. Robertson Award for Best First Book of Poetry from the Texas Institute of Letters. Her work has appeared or is forthcoming in The Rumpus, The Boston Review, The Academy of American Poets, and elsewhere. She is a CantoMundo Fellow and is pursuing her doctorate in English Literature and Creative Writing at the University of Southern California in Los Angeles. * “A Field of Onions: Brown Study” dedicated to the immigrants buried in mass graves in and near Falfurrias, Texas I walk through a bald field blooming violet onions. I will know I am absolved when there is no more dirt underfoot, when I have flipped the earth and the river runs above us, a glassed belldark sound. To find: liver, lung, womb. A lens cut from vulture eye. This is what it is to miss a thing. At the McDonald’s, a man in a parked car will talk himself awake. This is another kind of hunger. A prayer for the king: forty pears, all bloomed from young throats. Long life, a sea of rice, a thicket of braids. Problem: Four boats arranged in a cross drift away from each other in opposing directions. What theory states that, all conditions remaining equal, they can reach each other again on the other side of a perfect globe? To understand a map is to shrink the world; to plan; to color. Can you smell the vinegar blood in the babes, stardappled. The survivors ride the beast train toward the North, over those rolled off onto the tracks. See their legs, scattered. Olga in Minnesota: to be with her mother amidst rags of spring snow. For now, she is curled in the glovebox of a Chevrolet Cavalier. Bless you, all that meat and milk, threaded. Pass, you fairer animal. Not you. I have seen the door in the water. Solution: Magical thinking. To panic is to feel all your wildness at once. A flock of geese felled to the open plain, the lush grass confounds even the birds for passable angles. We the holy, are never really still. Agitation pulls even at hanging planets. Four sirens twist their voices—four dead in the desert borderlands. In this dream, I am on a plane. I wake up to the pilot smiling down on me. No one flies the plane. Or, I am flying the plane. The threads fly loose on each body, some sown to others, some not. But let’s not take this metaphor too far; we are better than the obvious. A hero is a plane of being. I think of a girl at space camp, perched above a better telescope than she has in her room. Tonight, she figures space as a map of horses. Blur, focus. Blur and focus. Tonight, the clouds will pull apart for her. Tonight, we will all dream of horses. My ancestor says: Later, when I arrive at your house, I will hang a crown of flowers at your door. And yours. And yours. And: Sometimes I choose to come through your television. In sleep, you will mistake me for dripping water. You will think you heard your father. We visit each other in these ways. Plan B. From the moon, the earth is a crown of dark marble. There are varying kinds of tragedy that produce the same outcome: paperwork. And even if we did save the trees, or the whales, the hunger would still be so great the people who need saving would still need saving. The heads of violet onions, rooted child fingers, blue-leafed lips. An orchard, a mass grave. I give you my coat and scarf in offering. I have no choice, I was born to saints in pilgrimage. Paper-purple skin. Grounded bodies. The border. A field of onions. Thesis: I swallow a bee for each ill deed done. I am a hive walking. I strain to hear you over the regret.
March 20, 2019 Whiting Awards 2019 Merritt Tierce, Fiction By Merritt Tierce Merritt Tierce. Photo: Kent Barker. Merritt Tierce was born and raised in Texas and attended the Iowa Writers’ Workshop. She received a Rona Jaffe Foundation Writers’ Award in 2011 and was a 2013 National Book Foundation 5 Under 35 Honoree. Her first book, the novel Love Me Back (Doubleday, 2014), was shortlisted for the PEN/Robert W. Bingham Prize for Debut Fiction and won the Texas Institute of Letters’ Steven Turner Award for Best Work of First Fiction. Tierce’s writing has appeared in the New York Times, Oxford American, Southwest Review, and other publications. Merritt currently writes for the Netflix show Orange Is the New Black. She lives in Los Angeles and is at work on a book of autofiction about men, sex, writing, the internet, depression, being a woman, physicality, and television. * An excerpt from Love Me Back: I never wore makeup in high school so I didn’t know how to do it. But I bought some Maybelline at the drugstore and I spread it on my face. It made me look older and ugly. Even though he ignored me I would wait in the parking lot until I saw his Camaro pull in and then I would time my walk so we reached the employee entrance at the same time. The day I wore the makeup I couldn’t tell he was looking at me because of the sunglasses but he said Come here when we got close to the door. What is it, I said. I was standing next to him and he had his hand on the door but he took it away from the handle and pulled me to him by my arm. I tripped forward and he shoved me back. I just need to get this shit off your chin, he said. Jesus. He rubbed across my jawline with the heel of his fist and then took a handkerchief out of his pocket and wiped his hand on it. He whipped the handkerchief unfolded with a snap and pressed it to my face with his palm. I was humiliated but his hand was on my face and that was the first time he had touched me since that other afternoon. I could feel the warmth of his hand on my whole face and I could smell his aftershave and I put my hand up over his hand, to push his hand into my face harder. He jerked his hand down when I did that. What are you doing you little freak, he said. Go wash your face. Read More
March 20, 2019 Whiting Awards 2019 Nafissa Thompson-Spires, Fiction By Nafissa Thompson-Spires Nafissa Thompson-Spires. Photo: Adrianne Mathiowetz. Nafissa Thompson-Spires earned a Ph.D. in English from Vanderbilt University and an M.F.A. in creative writing from the University of Illinois at Urbana-Champaign. Her work has appeared or is forthcoming in the McSweeney’s column“The Organist,” The Paris Review Daily, Dissent, Buzzfeed Books, The White Review, The Los Angeles Review of Books Quarterly Journal, and other publications. Her short story “Heads of the Colored People: Four Fancy Sketches, Two Chalk Outlines, and No Apology” won StoryQuarterly’s 2016 Fiction Prize, judged by Mat Johnson. Her writing has received support from Callaloo, Tin House, and the Sewanee Writers’ Conference. She currently works as an Assistant Professor of Creative Writing at the University of Illinois. Her first book, Heads of the Colored People, was long-listed for the 2018 National Book Award, the PEN/Robert W. Bingham Award, the PEN Open Book Award, and the Aspen Words Literary Prize, and was a finalist for the Kirkus Prize. * An excerpt from Heads of the Colored People: She ran water, testing the temperature with her elbow. She took Ralph from his crib, and he fussed and whimpered for a moment, then looked into her eyes as if to say, “Why did you wake me?” She attempted to compose a text message in her mind, some sort of explanation or apology, but she couldn’t settle on the right words. Ralph clapped his hands together before and after she pulled his shirt over his head. She undressed him and then dressed him in a white linen suit she had bought for an upcoming vacation trip. She blessed his forehead with olive oil. A song came to her, something Terry used to play on his acoustic guitar when she was six or seven. She would get ready for work when she finished with Ralph—she could work on less sleep than this—and tend to the boy in room 47, maybe pray a level three for him and a level two for herself. Read More
March 20, 2019 Whiting Awards 2019 Nadia Owusu, Nonfiction By Nadia Owusu Nadia Owusu. Photo: Camarena Photo. Nadia Owusu is a Brooklyn-based writer and urban planner. Simon & Schuster will publish her first book, Aftershocks, in 2020. Her lyric essay chapbook, So Devilish a Fire, is a winner of the The Atlas Review chapbook series and was published in 2018. Her writing has appeared or is forthcoming in the New York Times, The Literary Review, Catapult, and others. Nadia grew up in Rome, Addis Ababa, Kampala, Dar es Salaam, Kumasi, and London. She is an associate director at Living Cities, an economic racial justice organization. * An excerpt from Aftershocks: I was fascinated by place because no place had ever belonged to me, nor had I ever belonged to any place. That was also why, as a child, I was fascinated by the body. Perhaps, I thought, I could just belong inside my own body. Perhaps I could know the streams of the veins in my wrists the way other people knew the streams in which they swam as children. Perhaps I could know the names of all the bones in the back of my hand the way other people knew the names of the backroads that were shortcuts home. I could know the rhythm of my pulse like my friend Dan knew the rhythm of the approaching train in his hometown, the rhythm he woke up to and went to sleep to and hoped would lead him somewhere else someday. Instead, I moved further and further outside of my body. Most of us do. But I moved so far outside that I got lost and couldn’t find my way back in. What will happen, I wonder now, if I cut myself open? I once dissected a fetal pig. I laughed at its cold rubbery corpse. I laughed as I made the first incision. I don’t know why I laughed. I snatch small sharp scissors from my desk and press the point of them into my thigh. I cannot bring myself to go deep. I do not laugh. Read More
March 20, 2019 Whiting Awards 2019 Terese Marie Mailhot, Nonfiction By Terese Marie Mailhot Terese Marie Mailhot. Photo: Mark Woodward. Terese Marie Mailhot graduated from the Institute of American Indian Arts with an M.F.A. in fiction. Mailhot’s work has appeared in The Rumpus, the Los Angeles Times, Carve Magazine, and elsewhere. The recipient of several fellowships—SWAIA Discovery Fellowship, Vermont Studio Center Fellowship, Writing by Writers Fellowship, and the Elk Writer’s Workshop Fellowship―she was recently named the Tecumseh Postdoctoral Fellow at Purdue University and resides in West Lafayette, Indiana. Heart Berries (Counterpoint, 2018), her first book, was a New York Times best seller. * An excerpt from Heart Berries: My story was maltreated. The words were too wrong and ugly to speak. I tried to tell someone my story, but he thought it was a hustle. He marked it as solicitation. The man took me shopping with his pity. I was silenced by charity—like so many Indians. I kept my hand out. My story became the hustle. Women asked me what my endgame was. I hadn’t thought about it. I considered marrying one of the men and sitting with my winnings, but I was too smart to sit. I took their money and went to school. I was hungry and took more. When I gained the faculty to speak my story, I realized I had given men too much. The thing about women from the river is that our currents are endless. We sometimes outrun ourselves. I stopped answering men’s questions or their calls. Read More