Isabel Meyers

Leaving Florida

By GRIFFIN LESSELL

 

We arrive at night, landing at West Palm International, still wearing jeans and fleece jackets as we step into the Florida night and walk to the taxi stand through air softened by warmth and humidity. Fifteen minutes later my sister and I stumble over the tiny brick path that leads from the edge of the cul-de-sac to the front door, swatting at mosquitos while my dad punches in the security code, everybody exhausted but excited to finally be back. It’s always like this, in all my memories of the place – an evening flight out of Boston landing us in West Palm sometime between ten and midnight, the night always clear, the air a humid 73.

The house belonged to my grandparents. Every February while I was in elementary school, my family would stay there for a week, a brief respite from the New England winter. My grandparents purchased the house as an eventual retirement home, but my grandfather had still not retired, and so the house occupied a strange sort of limbo, going entirely un-lived-in over the summer, and seeing only nine or ten weeks of use in the rest of the year. We returned each year to a sterile, static domicile that was clearly nobody’s home, greeted by the same immaculate white carpets, spotless tabletops, and barren kitchen. The house felt like a blank canvas over which our vacations were painted; it functioned simply as a base of operations. And this was the role my parents wanted it to play, because they were always desperate to get out of the house, to not let their week off go to waste. But for me, the house, and the similarly sterile neighborhood around it became the consummate vacation setting. February vacation came to be synonymous with Florida, the days 80 degrees and sunny, the blacktop so hot that wiffleball games couldn’t be played barefoot, the nights cool and humid and echoing with the hooting, melancholy whistle of the night train that passed along the outskirts of the gated community just after my nine-thirty bedtime.

Leaving Florida
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Thirty-One Things About the Lime of Control

By KRITIKA PANDEY

 

Three weeks ago, my 11-year-old Indian American cousin woke me up with a series of heartbreaking text messages. Didi you up? Mom dad and everyone else can’t stop watching the news. Theyre thrilled. Kashmir sounds like kishmish. Whats the lime of control btw? Why do hindus dislike muslims? I had not yet gotten out of bed in my small, sleepy university town in Western Massachusetts. But my aunt and uncle were up early in the morning as friends and neighbors, fellow upper-caste pajama-clad Indian Americans with unbrushed teeth and undemocratic hearts, had gathered in their New Jersey apartment to watch the Home Minister of India officially and unilaterally revoke the special status of Jammu and Kashmir, live from the parliament.

Part of what makes Jammu and Kashmir special is what makes India special. As a kid, I used to mug up from my school textbooks that India is the land of festivals, colors, dances, languages, religions, so on and so forth, but I was unable to appreciate the water in which I was a fish. Now when I go for months without hearing words that I don’t understand, as every cashier in every store asks me to ‘have a good one’ in the exact same tone and pitch, I have to listen to a Rajasthani or a Tamil song just to reorient myself. I need to know that there will always be so much that I don’t know. Therefore, I must constantly remember India, much of which is sort of me but not quite me, because it makes me feel bigger than myself.

Thirty-One Things About the Lime of Control
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Friday Reads: August 2019

Curated by SARAH WHELAN

The Common is a proud recipient of a Whiting Literary Magazine Prize, and our staff are ready to celebrate! In conjunction with the Brooklyn Book Festival, you’re invited to join Whiting Prize winners The Common, Black Warrior Review, American Short Fiction, The Margins (Asian American Writers Workshop), and The Offing for an evening of literary merriment at LIC Bar in Long Island City. Event details can be found here

If you’re already as excited as we are, please enjoy this month’s Friday Reads as a special treat – featuring reviews from editors at all the winning publications.

Recommendations: When You Learn The Alphabet by Kendra Allen; Two Lives: A Memoir by Vikram Seth; The Year of Blue Water by Yanyi; Shade It Black: Death and After in Iraq by Jess Goodell; A Feather on the Breath of God by Sigrid Nunez.

Friday Reads: August 2019
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The Common Magazine Named Finalist for CLMP Firecracker Award

Logo of firecracker for CLMP

New York, NY (May 30, 2019)—The Community of Literary Magazines and Presses (CLMP), the national nonprofit organization that for more than 50 years has supported the essential work of literary publishers, has announced the finalists of its fifth annual FIRECRACKER AWARDS. Given to recognize the importance of independent literary publishing, the FIRECRACKER AWARDS honor the best self- and independently published books of fiction, creative nonfiction, and poetry and the best literary magazines in the categories of debut and general excellence.

The Common Magazine Named Finalist for CLMP Firecracker Award
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The Common Magazine Receives $8,000 Amazon Literary Partnership Grant

Amazon Literary Partnership logo

Amherst, MA— The Common magazine, the award-winning literary journal based at Amherst College, has been selected for a 2019 Amazon Literary Partnership grant. Since 2017, funding from the Amazon Literary Partnership has helped further The Common’s mission of publishing and promoting emerging and diverse authors who deepen our individual and collective sense of place.  

Since 2009, the Amazon Literary Partnership program has awarded more than $12 million in grants to more than 150 organizations, including the National Book Foundation, PEN America, and Poets & Writers amongst others. Through these grants, the Literary Partnership program helps to uplift and amplify marginalized voices in order to promote a more diverse literary community. In 2019, the Amazon Literary Partnership worked with the Community of Literary Magazines and Presses to establish a new Literary Magazine Fund, and The Common is one of only 15 magazines awarded a grant from the Fund in its inaugural year. 

The Common Magazine Receives $8,000 Amazon Literary Partnership Grant
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Theorizing Delight: An Interview with Ross Gay 

JENNIFER ACKER and CURTIS BAUER interview ROSS GAY

headshot of ross gay sitting in a garden

Ross Gay is the author of the poetry collections Catalog of Unabashed Gratitude, winner of the Kingsley Tufts Award and a finalist for the National Book Award and the National Books Critics Circle Award, Bringing the Shovel Down, and Against WhichIn February he published his first book of prose, The Book of Delights. At the 2019 AWP Conference in Portland, OR, The Common’s editor in chief, Jennifer Acker, and Translations Editor, Curtis Bauer, sat down with Ross over lunch to talk about his latest book, which has led him to realize his life’s work.   

  

JA: It seems to me that your two recent books, the Catalog of Unabashed Gratitude and The Book of Delights, were written in a similar vein and in a similar spirit, even just from the titles. One of the things they’re both doing is thematically trying to draw attention to joy and delight. I wonder if they were consciously part of the same project, different outlets for similar impulse? 

Theorizing Delight: An Interview with Ross Gay 
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Review of The Souvenir: Is She Really Going Out with Him?

Movie poster for The SouvenirBy HANNAH GERSEN

The Souvenir, British director Joanna Hogg’s fourth feature film, is the first part of a two-part memory piece that focuses on a love affair that took place in Hogg’s early twenties, when she was in film school in London. Though not quite a memoir, the film is unabashedly autobiographical, and similar to Alfonso Cuaron’s recent Roma in how it seeks to reconstruct a particular period in the director’s life. To play a version of herself, a young woman called Julie, Hogg has cast Honor Swinton Byrne, a newcomer who at this point in her life is best known as Tilda Swinton’s daughter—though her performance in The Souvenir and next year’s sequel will likely change that. Swinton herself plays Julie’s mother, Rosalind, tamping down her usual charisma to embody a meek matron who rarely exerts her influence or reveals her knowledge of the world. It’s startling to see Swinton this way, especially with Byrne nearby, exuding youth and curiosity. With her height and her red hair, Byrne looks enough like Swinton to bring to mind her mother’s glamour, but also has a calm dreaminess that it is all her own.

Review of The Souvenir: Is She Really Going Out with Him?
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