{"id":136233,"date":"2019-05-10T09:00:09","date_gmt":"2019-05-10T13:00:09","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=136233"},"modified":"2019-05-09T17:06:57","modified_gmt":"2019-05-09T21:06:57","slug":"the-winners-of-92ys-2019-discovery-poetry-contest","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/05\/10\/the-winners-of-92ys-2019-discovery-poetry-contest\/","title":{"rendered":"The Winners of 92Y\u2019s 2019 Discovery Poetry Contest"},"content":{"rendered":"

\"\"<\/a><\/p>\n

For nearly seven decades, 92Y\u2019s Discovery Poetry Contest<\/a> has recognized the exceptional work of poets who have not yet published a first book. Many of these writers\u2014John Ashbery, Mark Strand, Lucille Clifton, Ellen Bryant Voigt, Brigit Pegeen Kelly, Larry Levis, Mary Jo Bang, and Solmaz Sharif, among many others\u2014have gone on to become leading voices in their generations.<\/p>\n

This year\u2019s competition received close to twelve hundred submissions, which were read by preliminary judges Timothy Donnelly and Mai Der Vang. After much deliberation, final judges Daniel Borzutzky, Randall Mann, and Patricia Smith awarded this year\u2019s prizes to Alfredo Aguilar, Bernard Ferguson, Omotara James, and Alycia Pirmohamed. The runners-up were Mia Kang, Henry Mills, and Jasmine Reid.<\/p>\n

The four winners receive five hundred dollars, publication on The <\/em>Paris Review Daily<\/em>, a stay at the Ace Hotel, and a reading at 92Y\u2019s Unterberg Poetry Center on May 16<\/a>. Congratulations to the winners! We\u2019re pleased to present their work below. <\/p>\n

\u00a0<\/strong><\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Alfredo Aguilar<\/strong> is the son of Mexican immigrants. He is the author of the chapbook\u00a0What Happens on Earth<\/em>. His work has appeared in\u00a0The Iowa Review<\/em>,\u00a0Best New Poets 2017<\/em>,\u00a0The Shallow Ends<\/em>,\u00a0and elsewhere. Originally from North County San Diego, he now resides in Texas.<\/p>\n

*<\/p>\n

Listening to a Recording from Tornillo, Texas<\/strong><\/p>\n

i hunched over my device<\/p>\n

& heard brown children
\nset apart into tents
\ncry out
\nfor their parents<\/p>\n

a guard said of their cries
\nit sounds like an orchestra\u2014<\/em>
\nall we need is a conductor<\/em><\/p>\n

i paused the recording<\/p>\n

i knew i shared this blame
\n& filled a piano with flames
\nbecause i didn\u2019t believe
\nwe had a right to song<\/p>\n

i placed silver coins into the hands that could help
\n& allowed myself a walk<\/p>\n

i looked at family photos\u2014
\nmy & my siblings\u2019 young faces
\nhow many young faces can fit inside a tent\u2014<\/p>\n

i won\u2019t write this fucking poem<\/p>\n

what good is every poem
\nif it can\u2019t reunite a family
\nif it can\u2019t tear the tarp off a camp
\nif it can\u2019t bring those responsible
\nto the mouth of a mob<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Bernard Ferguson<\/strong> is a Bahamian immigrant poet, an M.F.A. candidate at NYU, a Writers in the Public Schools Fellow, and an assistant editor at Washington Square Review<\/em>. He\u2019s a 2019\u00a0Adroit Journal<\/em> Gregory Djanikian Scholar and the winner of the 2019 N\u00e2z\u0131m Hikmet Poetry Prize. His work is published or forthcoming in The Common<\/em>,\u00a0SLICE Magazine<\/em>,\u00a0Pinwheel<\/em>,\u00a0Winter Tangerine<\/em>,\u00a0and\u00a0Best New Poets 2017<\/em>.<\/p>\n

*<\/p>\n

up the creek of my nostril, with an uncoiling thing<\/strong><\/p>\n

with perhaps a hollow rope or a foolish vacuum, exhaling & pushing
\ncotton into my skull, stuffing the small tubes through
\nwhich, otherwise, the scents of my favorite sugar
\n& cinnamon treats would wander through, with their hints of
\nguava that would signal my knees to bend & run
\ntoward a window or porch where a sister or an aunt await
\nwith the warm gooey duff that, at my young age, made my life
\nworth living, or, if not confectionery, the pheromones of my lover
\nthat would cause, at least a few parts of me, like my blood, to stir
\n& other parts, like my back, to stiffen & rise, causing all of me to
\nrise, & bloom, or to wish for blooming then, along with my lover,
\nwhose voice is now a few more steps removed from the box i keep
\nbehind my eyes, tiny receptacle in which i collect my sounds & evidence
\nof that which we call music, the box whose mouth is now covered
\nin mesh, which must have been placed there by a thief who does not thieve
\nbut instead prevents thieving, the thief who must be a man, must
\nhave, with his dirty devices, poured the fabric into my nose or else
\nslipped a portion of the Atlantic into one ear & clogged my thinking
\n& my hearing & my loving & so, little ones, you with your small & new
\nlungs, you with your loud, incessant breathing, if you see that man
\nwith his thieving & cotton & wide pockets of salt, you tell that man
\n& only that man in particular\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 we\u2019re through.<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Omotara James<\/strong> is the author of the chapbook\u00a0Daughter Tongue<\/em>, selected by African Poetry Book Fund for the 2018 New Generation African Poets Box Set. Born in Britain, she is the daughter of Nigerian and Trinidadian immigrants. Her poetry has appeared in Academy of American Poets,\u00a0Literary Hub<\/em>, Poetry Society of America, and elsewhere. She has been awarded fellowships from Lambda Literary and the Cave Canem Foundation.<\/p>\n

*<\/p>\n

Promise<\/strong><\/p>\n

When they send the robot to replace me, do not be gentle
\nwith it. Place these chords where its heart chakra should be.
\nDo not speak to it of a fountain\u2014 tell it, in the middle of
\nits life, there will be a flower: a blooming petalled trauma.
\nTell it, I considered beauty, once, but there were white-
\niced, gingerbread cookies, brown with molasses, in the
\nceramic, black, Santa jar. My father\u2019s mangoes, green, red
\nand yellow, were in a wooden bowl on the kitchen counter,
\nunharmed, having traveled so far beyond their home. There
\nwere the last hours before sleep, when mother borrowed
\nenergy from the next day to make at least three nights\u2019
\nworth of dinners for us. Until the night roused me with
\nmore night and I masticated with tongue. Masticated with
\nteeth. Masticated in my sleeping gown. Masticated beneath
\nthe sheets. Masticated in the bathroom stalls at school so
\nquiet you wouldn\u2019t hear me over the sound of a raindrop. I
\nam a master-cator. I will masticate. Until there\u2019s nothing.
\nUntil I\u2019m full. Until I\u2019m done.<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Alycia Pirmohamed<\/strong> is a Canadian-born poet living in Scotland, where she is completing a Ph.D. at the University of Edinburgh. She is the author of the chapbook Faces that Fled the Wind<\/em>\u00a0and the winner of the 2018\u00a0Ploughshares\u00a0<\/em>Emerging Writers\u2019 Contest in Poetry. Her poetry has recently appeared in\u00a0Prairie Schooner<\/em>,\u00a0The Adroit Journal<\/em>,\u00a0The London Magazine<\/em>,\u00a0Room Magazine<\/em>,\u00a0Glass: A Journal of Poetry<\/em>, and others. She received an M.F.A. from the University of Oregon.<\/p>\n

\u00a0<\/strong>*<\/p>\n

The Making of a Ghost<\/strong><\/p>\n

the rap rap<\/em><\/p>\n

rap of ghosts at the door. there are considerations
\nshe must take when the great greats<\/p>\n

cross yet another spilled sari of ocean water.
\nthis time the embarkment<\/p>\n

is holier than the last, the locusts woven into maple
\ntrees and the buzzards with moon faces.<\/p>\n

she gnashes open the green cardamom,
\nsheds the seeds into her own grave<\/p>\n

and never questions equilibrium. the fill of one story
\ninto another\u2019s mouth. all of her<\/p>\n

meat another lineage, an answering before
\nthe wound is born.<\/p>\n

with sweet water found in the rivers, she washes
\nher body three times.<\/p>\n

this is what the ghosts pass down: one hand
\nover the other, a valley of long stems,<\/p>\n

and the ritual of washing a body only an odd number
\nof times before the dirt.<\/p>\n

she is laying down the past like a row of knives.
\nshe begins here, ends here<\/p>\n

in the language of pine forest overlain with gulls.
\ncountry, again, she is knocking<\/p>\n

on the glass of your windows. again, she is jotting
\ndown the script of your cattle.<\/p>\n

country, at last, gift her a homecoming.<\/p>\n

 <\/p>\n

The winners of the Discovery Poetry Contest will read from their work on May 16 at 92Y\u2019s Unterberg Poetry Center<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

We\u2019re pleased to share work from each of the winners of 92Y\u2019s 2019 Discovery Poetry Contest.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2559],"tags":[],"class_list":["post-136233","post","type-post","status-publish","format-standard","hentry","category-bulletin"],"acf":[],"yoast_head":"\nThe Winners of 92Y\u2019s 2019 Discovery Poetry Contest by The Paris Review<\/title>\n<meta name=\"description\" content=\"We\u2019re pleased to share work from each of the winners of 92Y\u2019s 2019 Discovery Poetry Contest.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2019\/05\/10\/the-winners-of-92ys-2019-discovery-poetry-contest\/\" \/>\n<meta property=\"og:locale\" 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