Morry Ajao

MorryAjao

Stop Being Precious About Process: Julian Zabalbeascoa interviews Michael James Plunkett

October 13, 2025 Interviews

In this interview, JULIAN ZABALBAEASCOA and MICHAEL JAMES PLUNKETT explore how a chance visit to the World War I battle site of Verdun sparked a decades-long journey that led to Plunkett writing Zone Rouge. Their conversation took place across time zones as Zalbalbeascoa was in Donostia-San Sebastian, Spain, and Plunkett was home in Columbus, Ohio, having just welcomed his second child. In their correspondence, they cover makeshift writing rituals from Morgan Stanley’s cafeteria to subway rides, the joys of publishing with independent presses, the art of dodging probable plot twists, resilience in the face of climate change, and “fiction’s ability to explore the human condition in ways data can’t.”

Julian Zabalbeascoa (Left) and Michael Jerome Plunkett (Right)

Julian Zalbalbeascoa (JZ): Since The Common is a journal that celebrates how place functions in our lives, I thought we’d begin with the setting of your novel: Verdun, site of the decisive battle in World War I, which resulted in the deaths of over 700,000 French and German soldiers. When did your interest in Verdun (the place and the battle) begin? And when did you think to yourself, There may be a novel here.

The Garden of the Gods

September 24, 2025 Dispatches

By ELI RODRIGUEZ FIELDER

Two children kneel on a large rock surface. Large grey boulders and a forest of trees are visible in the distance.

Photo courtesy of author

Herod, Illinois

There are two Gardens of the Gods, but the one in Southern Illinois fit our budget. On the drive down from Iowa City, we listen to podcasts about Norse and Greek mythology to fill the twins’ heads with ideas of magic, with the hope that they might complain less about the hiking. From their car seats, they point out farms with broken corn stalks and a Burger King, making the argument that we must still be in Iowa. Even though we’ve traveled six hours, their six-year-old brains haven’t yet connected time and distance. But I’ve been in the Midwest long enough to know the difference between the farms around a college town and farms around a farming town. And if I wasn’t wisened to it, the signage would teach me soon enough. Traveling through rest stops and restaurants puts us on edge. We make the outline of an average family with a couple of feral kids, if people don’t linger too long in their gaze.

Hitting a Wall and Making a Door: A Conversation between Phillis Levin and Diane Mehta

September 8, 2025 Audio, Interviews, Poetry Recordings

Phillis Levin (left) and Diane Mehta (right)

DIANE MEHTA and PHILLIS LEVIN’s conversation took place over the course of weeks—over daily phone calls and long emails, meals when they were in the same place, and a weekend in the Connecticut countryside. Though what appears below can only be fragments of their full exchange, the two poets—both previous contributors to The Common—share what they draw from each other’s work, and the work of others, exploring the pleasures of language, geometric movement, formal constraint, and expressing multiple perspectives in poems.

This interview includes recordings of many of the poems mentioned, read by the author.

My Sentimental Afternoon

April 22, 2024 Issue 27, Issue 27 Poetry, Poetry

By LEILA CHATTI

Around me, the stubborn trees. Here
I was sad and not sad, I looked up
at a caravan of clouds. Will you ever
speak to me again, beyond

Symphony of the South

April 22, 2024 Arabic Fiction, Audio, Fiction, Issue 27, Issue 27 Fiction, Translation

By TAHIR ANNOUR
Translated by MAYADA IBRAHIM

The Common Magazine · "Symphony Of The South" by Tahir Annour, Translated by Mayada Ibrahim

Dew
Uncle Musa died. A year after his passing, my father headed north. He said he would be back in a month.

It all happened so fast I barely caught it, like a migratory bird resting in a dark corner of the forest, like all the things that crowd my memory. No sooner do they appear than they vanish. When I try to recall the details, to understand what happened, none of it makes sense. Time lures the mind into letting go, submitting to the abyss, but I know the mind is capable of reaching into the well of the past. All these memories, from time to time they pierce through the pitch-black darkness. They gleam and fade into the shadows of this exile, of this rotten world.

On one of the shadowy days before his departure, I accompanied my father to the farm. It was the afternoon. Our farm was just outside the village. People were drying their earthenware in the sun: cups, bowls, pots, censers, jars. Children ran around them and erected little churches. They waded deep into the mud, sinking their hands in as if into spilled blood—the blood of an offering, perhaps—smearing their faces and tossing it at one another. They yelled and called each other names. Their clothes were the color of rust, their faces crocodile-like.

Was to Get It

April 22, 2024 Issue 27, Issue 27 Poetry, Poetry

By MATTHEW LIPPMAN

The Common Magazine · “Was To Get It” by Matthew Lippman

I tried to get in touch with my inner knowledge.
Turns out I have no inner knowledge.
I used to think I did.
Could sit on a rock contemplating the frog, the river, the rotisserie chicken
and know that everything is connected to everything else.
Or, that I had a messed-up childhood and never fully left the home.
Or, that abandonment was a product of eating too much candy.
But then the dog saw the squirrel.

Recurrence

April 22, 2024 Issue 27, Issue 27 Poetry, Poetry

By SEAN CHO A.

in the absence of wind: stillness of course.
the slowness of the leaves is a reminder
of the importance of scale. of time. scale
of time. the stillness in the branches becomes

Papel Picado

April 22, 2024 Audio, Fiction, Issue 27, Issue 27 Fiction

By A.J. RODRIGUEZ

The Common Magazine · Papel Picado by AJ Rodriguez

Right before her twenty-fifth birthday, Chacha shaved her head, shearing the long black hair I’d known my entire life down to tiny-ass stumps. Having not spoken to my half sister in months, I learned about her haircut through Cero Reyes in the hallway of Our Lady of Guadalupe, where I was a sophomore. He was the little brother of her number-one homegirl, Cici, and had been there that past weekend at his parents’ hacienda up in the North Valley, banging on the bathroom door while our hermanas conspired Chacha’s new look.

I had to take a fucken piss, he said. Real bad too, but they spent over an hour in there, all giggling n’ shit.

You got a fuckload of bathrooms, I replied, gathering books from my locker to show the huevón I had other priorities. You coulda pissed in any of them.

“Cero” was a nickname that translated to nothing. It had carved this wiry, tacuache-looking vato since the day he could talk. Dude blabbered so much as a baby, stringing together words in an order that, according to his parents, made zero sense. He belonged to a family that made a name for itself in Juárez through some maquiladora empire. They’d moved to Albuquerque once his mami announced her desire to start a turquoise jewelry business. A couple years later, Cici popped into their world, who then met Chacha in a dance class for toddlers, and next thing you know they form this lifelong bond, a friendship so strong it forced me to spend too much of my childhood on a giant estate where I couldn’t help but wish my parents never divorced—wish we had enough skina to get out the varrio—wish my mother wasn’t such a pinche gringa and my pocho father spoke better Spanish.

That ain’t the point, Cero continued. It’s my bathroom, cuh. They used my shaving kit. Your sis’s hair was on the sink, shower, mirror—even the fucken toilet seat!