Aidan Cooper

Small Mariners

By LAUREN CAMP

 

What is it like to be found? All these years on, I’ve never before been
to the edge of this rocky square state. I drive 41 through aura and wither
and slip into Golden then out to Stanley and right on 60.

Beside the road, dust chafes and three shapes of mountains.
Keen winds fold in and exasperate. The radio sputters its beats.
Assigned to be at a school as the sun has left its felicity

to lead young grades in how to find and trust a poem, but I can’t
see the entrance apart from the fences. I cede to another end
while the sky stays to its razoring blue. I am late. I reimagine late.

And then I am taken, finally, into the gym, late and flummoxed.
I swallow. Set my eyes on 122 tender children, much smaller
than never-ending. At this age they are all swish and unconquerable

hope. A stunned mic waits like a nest below the fluorescents
and I am pointed to use it, to woo the kids into words. I go up—
to the empty middle of the gymnasium, put my teeth to the mesh

and invent a direction. I discard what I intended and ask
these little lighthouses to beam their vibrant lights to the page.
Beam what no one has asked them to find before. Where have you been

lost? They listen for rules but I give none. They tremble
with their little power. Say many lives lead nowhere. Say they huddle
within this town. Its pious blue. Say the verdict of future is here where

hawks skirl and transport. The children’s worries
are the thinnest lessons. There are stories they are moving toward.
Was it chance they had almost all been lost in Wal-Mart in the wipe-out

fluorescence and worshipped wings: Seasonal, Sewing, Tires,
the skittering intersections? Aisles, they ask me
to spell—and they write it, elongating the letters. The energy increases.

They shine as they explain the town’s slickest business as the world
of gone children. At last and thank goodness, they are lit up.
Telling the waves of fear. The breath wet. Their words nervous,

their sinews redefining. Life goes in a blink.
They were all clenched back to parents.
Without embellishment, they were saved.

 

[Purchase Issue 30 here.]

 

Lauren Camp is the author of eight books, including In Old Sky, which grew from her experience as astronomer in residence at Grand Canyon National Park. She received a Dorset Prize and was an Arab American Book Award finalist. Camp served as poet laureate of New Mexico from 2022 to 2025. Visit LaurenCamp.com.

Small Mariners
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Podcast: Sarah Smarsh on “Bone of the Bone”

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Transcript: Sarah Smarsh

National Book Award finalist SARAH SMARSH speaks to managing editor EMILY EVERETT about her career writing memoir, essays, and journalism centered on the experience of the rural working class in the US. Her essay in The Common’s fall 2014 issue, “Death of the Farm Family,” became part of her 2018 book Heartland: A Memoir of Working Hard and Being Broke in the Richest Country on Earth, which became an instant New York Times bestseller, was shortlisted for the National Book Award and the Kirkus Prize, and named on President Barack Obama’s best books of the year list.

Smarsh discusses her most recent book, a collection of essays from 2012 to 2024 titled Bone of the Bone: Essays on America from a Daughter of the Working Class, out this fall in paperback. The conversation ranges from what the media gets wrong about working class Americans to how our understanding of and interest in talking about class and access has changed since the early 2000s. Stick around to hear how Smarsh manages the dual identities of rural Kansas farm kid and nationally recognized writer-commentator on class and culture, and hear what she’s working on next.
 

Sarah Smarsh headshot and photo of her book "bone of the bone" 

Podcast: Sarah Smarsh on “Bone of the Bone”
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October 2025 Poetry Feature: From DEAR DIANE: LETTERS FOR A REVOLUTIONARY

By TINA CANE

headshot of the author black and white

Photo of Tina Cane by Cormac Crump

On DEAR DIANE: LETTERS FOR A REVOLUTIONARY
Between May 1968 and December 1971, poet Diane Di Prima wrote a poetry collection comprised of sixty-three “Revolutionary Letters.” Several years ago, I purchased a rare set of the first thirty-four of Di Prima’s letter poems—typed on long sheets of construction paper, stapled, and hand-corrected in ballpoint pen. Bought as a celebratory gift for myself, after having been awarded a fellowship, it’s a humble yet fierce extravagance. While the booklet appears sturdy, its yellowed pages are somewhat delicate. I rarely handle it—too worried about spilling coffee, or having someone in my house mistake the unassuming bundle for recycling. Most of the time, my sheath of Di Prima poems sits in my bookcase, atop a row of books by Marguerite Duras.

October 2025 Poetry Feature: From DEAR DIANE: LETTERS FOR A REVOLUTIONARY
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September 2025 Poetry Feature: Earth Water Fire Poems, a Conversation

Poems and sculptures by LISA ASAGI

This is a conversation with whales, clay, and poetry.  

A wonderment with whales began in a childhood alivened by the early days of the Save the Whales movement and stories from my father of mysterious encounters on overnight boating trips.  This fascination resurfaced seven years ago when I found myself working with my hands—clay sculpture and stand-up paddling led to long overdue reconnections with both earth and sea. Research deepened my curiosity: before the centuries of whaling, very different kinds of relationships existed between whales and humans. Here in the 21st century, what’s possible? These pieces are part of an ongoing series of rememberings, imaginings, longings, and offerings.

— Lisa Asagi 

September 2025 Poetry Feature: Earth Water Fire Poems, a Conversation
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The Reading Life: The Acrobat

By JIM SHEPARD 

 

The Reading Life is a special 15th-anniversary essay series reflecting on close reading and re-reading, written by The Common’s Editorial Board.

I always thought that one of the quieter sadnesses of my father’s life—and there were plenty of noisy ones, even given that everyone, myself included, acknowledged that he was a delight to be around—was his relationship to his own education and to reading itself. Shep—everyone including his kids and his wife called him Shep—only got as far as high school before World War II intervened, and then worked at Sikorsky Aircraft, a company that built helicopters, after returning home. He’d flown ground attack missions in Burma as a dorsal turret gunner in a B-25 and resupply missions as a cargo officer in a C-47 through the Himalayas to China, and the latter missions, referred to as going ‘over the hump’ in flyboy speak, were so lethal that the aircraft and crews suffered a twenty percent loss rate. When he got home, he needed to decompress, what I now realize was his version of PTSD. His account of the seven or eight postwar months in which he just lay around worrying his mother—the details of which always seemed to me to eerily echo Hemingway’s great short story “Soldier’s Home”—always included as a sad self-indictment, “I thought I might read, but I never had the concentration for it.”  

The Reading Life: The Acrobat
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Giving the Poem a Body: Megan Pinto interviews Lena Moses-Schmitt

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Lena Moses-Schmitt (left) and Megan Pinto (right)

When we listen to language, what do we hear? When we look at an image, what do we see? LENA MOSES-SCHMITT’s poetry beautifully captures the nature of perception. Her lyric-narrative meditations are interested in the mind’s movement across the field (visual, sonic) and the page. Moses-Schmitt writes in “The Hill”: “This morning I heard the man/ who lives downstairs say I love you to the woman–/not the words, but the rhythm, the shape, and I filled in the rest/ as if with red crayon.” Her debut collection, True Mistakes, moves between perception and imagination, the grieving for and the making of a life. MEGAN PINTO sat down with Lena Moses-Schmitt on a sunny June afternoon in Brooklyn. They marveled at the light through the leaves and drank cold seltzers with bitters. Their conversation shifted from superhero alter egos to how poetry sustains them through life’s many blips and heartbreaks.

Giving the Poem a Body: Megan Pinto interviews Lena Moses-Schmitt
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Before They Traded Devers

By AIDAN COOPER

Fenway Park

Photo courtesy of author.

Boston, MA
After Frank O’Hara

Father’s Day, it’s 8 a.m. & I’m late on the road
to Boston because I drooled too much sleeping
I’m driving to a Red Sox game, yes I’ll go
because my dad at one point liked the pitcher 
& the tank’s too full to not go 

when I reach the MFA beehiving with students
I wonder what’s on & it’s Van Gogh’s Roulin Family Portraits 
& I want to park there in case I have time to peruse
but it’s 50 bucks & I’m seeing my family anyway
so I circle Huntington until I find an empty spot 
on Parker & it’s Sunday so I’m off the hook 
& I don’t thank God pay a thing

Before They Traded Devers
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Podcast: Mariah Rigg on “Target Island”

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Transcript: Maria Rigg Podcast.

MARIAH RIGG speaks to managing editor EMILY EVERETT about her story “Target Island,” which appears in The Common’s spring issue. “Target Island” is a story from her short story collection Extinction Capital of the World, out August 5 from Ecco; both focus on the islands of Hawai’i. Mariah talks about the process of writing and revising this story and the collection as a whole, and why reflecting contemporary Hawai’i is important to her work. Mariah also discusses playing with time and narrative flow in her stories, and working on a new project—her first novel.

Headshot of Mariah Rigg and the cover of Issue 29 of The Common

Podcast: Mariah Rigg on “Target Island”
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The Reading Life: Re-Reading The Reader: Book Clubs, Reading Aloud, and the Many Faces of Aunt Betsy

By MARY JO SALTER

 

The Reading Life is a special 15th-anniversary essay series reflecting on close reading and re-reading, written by The Common’s Editorial Board.

 

Whenever I’ve been asked to join a book club, I’ve given a stock answer: No thanks, my life is already a book club. As an English professor who had led class discussions about books for decades, I had acquired an arrogant persona: I was someone who told other people what to read, not the other way around. Yes, I was grateful for book recommendations by certain discerning friends. But any sort of public gathering in which everyone got a democratic turn to assign the others a book, however far it ranged from one’s own interests, and then most members had to pretend to enjoy the book more than they had, was my definition of a lousy party.

The Reading Life: Re-Reading The Reader: Book Clubs, Reading Aloud, and the Many Faces of Aunt Betsy
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