2011

• Poetry:  Katie Meyer, "For All the Florence Thompsons"
• Creative Prose:  Joseph Paul Simurdiak, Excerpt from The Shadows of Autumn
• Critical Essay: Paige Caulum, "Sense and Sensibility in James Joyce's Ulysses: Establishing the Link Between Identity and Intimacy"

2010

• Poetry: Paige Caulum, “Lying through her teeth,” “Of one mind,” “A survivor’s confession,” and “Happier”
• Creative Prose: Kim Hansen, “The Droll Haircut”
• Critical Essay: Claire Dailey, “Racial Revolutions: The Evolving Image of the Black Individual in Herman Melville’s ‘Benito Cereno’”

2009

• Poetry: Magdalynn O’Leary, “Sun Prairie High,” “Midnight Mass,” “The Collage,” “It Was the Summer of Raspberry Vodka,” and “A Dream Referred”
• Creative Prose: Paul J. Utterback, “Afraid to Fly”
• Critical Essay: Christine Garten, “An Unseen Hand: Gender and Gaze in Whitman’s Leaves of Grass”

2008

• Poetry: Paul Strickler, “blues metal,” “daughter,” “to build a fire,” “war is hell,” and “wish you were here"
• Creative Prose: Stuart Ninabuck, “The One and Only”
• Critical Essay: Paul J. Utterback, “Silence Amidst Racial Injustice: Complacent Catholicism in O’Connor”

2007

• Poetry: Dan Kiefer, “the smell of books”
• Creative Prose: Zachary Willis, “The Sound of Birds”
• Critical Essay: Stefanie Jochman, “The ‘Naming of the Unnamed Name’: How the Rose Unlocks T. S. Eliot’s Four Quartets”

2006

• Poetry: Meghan Fahy, "Overdone"
• Creative Prose: Stuart Ninabuck, "Rooster"
• Critical Essay: Erin Grams, "Fairy Godmother and Wicked Witch: The Veiled Dichotomy of Dicken's Miss Havisham in 'Great Expectations'"

2005

• Poetry: Julie Ennenbach, "Meals on Wheels,' "Sweat," and "My dad, his hands"
• Short Story: Andrew McIlree, “Duffer (a tale of the Great North Woods)”
• Personal Non-Fiction (tie): Karen Aschenbrenner, “Minutes" and Dan Karel, "Strangers and Stars"
• Critical Essay: Elizabeth Hermans, “The Devolution of Female Strength in Jane Eyre and Lady Audley’s Secret”

2004

• Poetry: Kristin Alberts, “Water Doesn’t Want Us,” “Water Solitude,” and “Boats on the Rhone”
• Short Story: Andrew McIlree, “Nothing More to Fear”
• Critical Essay: Kristin Alberts, “From Romantic to Realistic: Shifting Emotions in the Poetry of World War I”

2003

• Poetry: Bridget Esterhuizen, “Hairy Carrie,” “chickens understand sharp things,” and “Neither Poached nor Scrambled”
• Short Story: Margaret Bridge, “The Little Minnow”
• Personal Essay: Karen Aschenbrenner, "Deciphering What’s Right with All That’s Left”
• Critical Essay: Mike McIntyre, “Inequality with Poetic Ingenuity: Chaucer’s “Clerk’s Tale”"

2002

• Poetry: Maureen Pratt, “First Confession,” “Music Scene,” and “Mining Engineer”
• Short Story: Kelley Kepler, "Breakdown"
• Personal Essay (tie): Kelley Kepler, “Happy Hollow Road” and Jennifer A. Broberg, “The Guilt of Settling”
• Critical Essay: Kelley Kepler, “Huckleberry Finn: The End is Just Cheating”

2001

• Poetry: Alan Kellermann, “something god doesn’t know,” “farinelli,” and “adam’s elegy”
• Short Story: Alan Kellermann, “That’s Why They Play the Blues”
• Personal Essay: Liz Langemak, “For Carmen”
• Critical Essay: Theresa Andre, “Totalitarian Goals vs. Utopian Ideals: Orwell’s Warning on the Antithetical Nature of Totalitarianism to Humankind’s Pursuit of the Ideal Society”

2000

• Poetry: Liz Langemak, “Green Accent, 1935,” “The Blue Rider, 1903,” and “Impression IV, 1911”
• Short Story: Jacob Paplham, “The Last Temptation of Bill”
• Personal Essay: Michelle Bergen, “Thunder Rolls"
• Critical Essay: Kelley Kepler, “Gatsby’s Connection with Myrtle: Reevaluating his Greatness”