The Common Magazine Announces 2026-27 David Applefield ’78 Fellow

(Amherst, Mass. July 14, 2026)—Award-winning, international literary journal The Common announced today that Ben Tamburri ’27 will be the fourth recipient of the David Applefield ’78 Fellowship. The fellowship, the magazine’s first endowed student internship, was established in 2022 by the friends and family of David Applefield, a literary polymath who attended Amherst College and founded Frank, an eclectic English-language literary magazine based in Paris.

The Common Magazine Announces 2026-27 David Applefield ’78 Fellow
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Announcing The Common’s Seventh Literary Editorial Fellow

(Amherst, Mass. July 14, 2026)—Award-winning, international literary journal The Common has announced Aidan Cooper ’26 as its seventh Literary Editorial Fellow. The fellowship launched in 2020 with support from the Whiting Foundation and is sustained by the generosity of Amherst College alumni donors.

The Literary Editorial Fellowship (LEF) was introduced with three goals in mind: to strengthen the bridge between The Common’s existing Literary Publishing Internship (LPI) for undergraduates and the professional publishing world; to provide real-world literary experience for an Amherst graduate, transferable to a wide range of fields; and to increase the capacity of The Common’s publishing and programming operations.

The LEF is designed to provide recently graduated students with a stepping stone between academic work and the greater publishing world. The full-time, postgraduate fellow assists the managing editor with print and digital production; edits and proofreads prose and poetry, working closely with contributors; creates multimedia web features; mentors current LPI students; and develops, organizes, and staffs innovative events on campus and across the country.

Aidan Cooper headshotAidan Cooper ’26 is the seventh Literary Editorial Fellow, following Kei Lim ’25, Sam Spratford ’24, Olive Amdur ’23, Sofia Belimova ’22, Elly Hong ’21, and Isabel Yao Meyers ’20. Cooper arrives at the position after one year as an editorial assistant for The Common and one year as the magazine’s David Applefield ’78 Fellow. They graduated from Amherst College as an English major, where they served as editor-in-chief of Amherst’s poetry club and poetry magazine, The Lilac, and worked in the archives of the Folger Library in Washington, D.C., investigating the relationship between mercantilism and horsemanship in Shakespeare’s England. In addition, they completed a creative-critical senior thesis about relational modes of meaning-making in contemporary “experimental” poetry, for which they were awarded summa cum laude. Their poem “Before They Traded Devers” was published online at The Common.

The Common’s insistence on place-based writing has been instrumental to my development as a writer and thinker,” Cooper said. “This endlessly inspiring community of writers, translators, and artists makes The Common a haven in the literary world, and I can’t wait to take on more responsibility in nurturing it.” Cooper is eagerly anticipating learning about the operational aspects of The Common and sharpening their editorial eye. “I’m honored to be supporting this necessary and beautiful magazine as it has supported me,” they said, “and to have the chance to read and refine some great stories, too.”

“Aidan has had a notable role in the greater literary and editorial sphere at Amherst, including already at The Common,” said magazine founder and editor-in-chief Jennifer Acker. “I’m excited for them to work even more closely with authors and the intern team in service of The Common’s mission to publish the best place-based writing from around the world and mentor the next generation of writers and editors.” Since 2010, Acker has directed the Literary Publishing Internship, which employs eight to ten students annually. She also directs Amherst College LitFest, now in its twelfth year.

The LEF position is only one example of Amherst’s commitment to supporting hands-on learning, introducing students to practical and intellectual applications of its liberal arts curriculum. “The Common provides students with an opportunity to apply their humanistic education toward real-world publishing experiences, and the Literary Editorial Fellowship enables this learning to extend beyond graduation, as students take the first steps towards their careers,” said Martha Umphrey, Amherst College’s Provost and Dean of the Faculty.

 

About The Common

The Common is a print and digital literary journal published biannually. Issues of The Common include fiction, essays, poems and images that embody a strong sense of place. Each spring, the magazine features a rich portfolio of Arabic fiction in translation, introducing English-language readers to new and exciting voices from across the Middle East and North Africa. Since its debut in 2011, The Common has published more than 1,500 authors from 56 countries. Pieces from The Common have been awarded the O. Henry Prize, the PEN/Robert J. Dau Short Story Award for Emerging Writers, and have been selections and notable mentions in multiple genres in the prestigious Best American series. The journal’s editorial vision and design have been praised in The New Yorker, The New York Times, The Boston Globe, Slate, The Millions, Orion Magazine, and The Chronicle of Higher Education.

Former Literary Publishing Interns have gone on to publish acclaimed novels, win Watson Fellowships, study English literature at top graduate programs, and work at nonprofit organizations and literary publishers around the world. Beyond mentoring undergraduates, The Common supports educators from high school to graduate levels through The Common in the Classroom and hosts summer writing courses for high school students via The Common Young Writers Program. Read more about the magazine’s programs here.

Announcing The Common’s Seventh Literary Editorial Fellow
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Amphibious Living: January O’Neil interviews Joseph O. Legaspi

 
January O Neil and Joseph O Legaspi

January O’Neil (left) and Joseph O. Legaspi (right)

 

In the mid-90s, JOSEPH O. LEGASPI and JANUARY O’NEIL met hovering over a cheese plate at the graduate school orientation of NYU’s creative writing program. They have been friends and champions for each other ever since. On the recent release of Joseph’s third full-length collection, Amphibian, the two formally met on Zoom to discuss the book, persistence, survival, legacy, and the long arc of their friendship.

Amphibious Living: January O’Neil interviews Joseph O. Legaspi
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Podcast: Juliet McShannon on “Rescue”

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Listen on Spotify.

Transcript: Juliet McShannon Podcast.

Juliet McShannon headshot with Issue 31

Juliet McShannon speaks to Emily Everett about her story “Rescue,” which appears in The Common’s spring issue. The story follows a woman on her search for a lost dog through a neighborhood very different from her own, and explores ideas of loss, class, community, and healing. Juliet also discusses how her childhood in Apartheid South Africa, and young adulthood practicing law during the time of transition that followed, has shaped her writing.

Podcast: Juliet McShannon on “Rescue”
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Self-Portrait in The Caribbean

By PAOLA ASSAD BARBARINO
Translated by MAGDALENA ARIAS VÁSQUEZ

Poems appear below in English and the original Spanish.

Translator’s Note:
Paola’s poetry, which I have been translating for a while now, is fundamentally Venezuelan and has to be understood in that context. The challenge for me is to render this context as best as I can from my position as an outsider. “Autorretrato en el caribe” or “Self-Portrait in the Caribbean” was a particularly challenging poem to translate keeping this in mind. It’s also one of my favorites of hers. It relies heavily on Venezuelan history and an understanding of their political context. The most prevalent example of this is the quotation, “¡Entonces yo tampoco quiero mando!” which is a historical allusion to Capitán Emparán, who, in the face of the Spanish crown’s decaying power in Venezuela, famously used the words to renounce his position in government, granting Venezuela independence from Spain. It directly translates to “Then I too do not want to be led” or “Then I too do not want to lead.” The double sense of the phrase in Spanish is particularly interesting in the context of the poem. I chose to keep it in Spanish to keep this double meaning, and also to assert the phrase’s origin as Venezuelan, whose context may not be readily available to an Anglophone reader. The final stanza of the poem is one of my favorite lines that Paola has ever written. Speaking from the position of someone living through exile, Paola’s poetry is politically and personally charged and speaks to the complicated space she inhabits.

Self-Portrait in The Caribbean
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Review of Mary Oliver: Saved by the Beauty of the World

Film by SASHA WATERS
Review by HANNAH GERSEN

Poster for Mary Oliver's Documentary featuring her before a computer

Mary Oliver is a poet whose work is so well-known, so ubiquitous, that even if you think you’ve never read her, you’ve probably heard snippets of her poetry or seen lines of it on Instagram or tumblr. The phrase “your one wild and precious life” from her poem “The Summer Day” and “the soft animal of your body” from “Wild Geese” have become memes. She has a seemingly universal appeal that transcends age, gender, and politics: everyone seems to think she is speaking directly to the concerns of their soul.

Review of Mary Oliver: Saved by the Beauty of the World
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Electricity Comes in the Morning

By MARVIN GARBEH DAVIS, SR.

Monrovia, Liberia

At night, Monrovia hums differently. The city does not sleep; it simply waits for current, for rain, for something brighter than the day’s promises. The fans stand still, as if they are guards unable to protect anyone. Refrigerators sigh into silence. Somewhere in the distance, a generator coughs to life, and the sound ripples through the neighborhoods like a tired prayer being repeated by many.

Electricity Comes in the Morning
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Pink Days

By GABRIELLE KORN

Excerpted from Long Island Girls

Cover of Long Island Girls by Gabrielle Korn

Susan wanders aimlessly down the alt rock aisle of Tower Records, one parking lot over from the Walt Whitman Mall, next to the TGI Fridays. She runs her fingers along the top edges of the CDs while a Fall Out Boy song plays through the store’s speakers, nails on a chalkboard with its high-pitched harmonies. She’s wearing her large headphones like a necklace, plugged into a Walkman in her black pleather messenger bag.

Pink Days
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The Vampire Before NAFTA: A Review of The Voice of Blood

By GABRIELA RÁBAGO PALAFOX

Review by ASHLEY HONEYSETT

The Voice of Blood cover

The Voice of Blood cover

The short story collection The Voice of Blood is the first book by Mexican writer Gabriela Rábago Palafox to be translated into English, 35 years after its original publication. Rábago Palafox achieved some recognition in Mexico, winning a number of awards including the prestigious Puebla prize, but was not widely recognized in her lifetime. Interviews and biographical information are limited. The blurbs on the book refer to her as “the secret ‘cool aunt’ of a few Mexican writers,” and say that her work was almost impossible to find. She wanted an international readership, which her translators say was an unorthodox ambition in Mexico, which had insular, nationalistic literary and publication traditions. They speculate that, had she lived, her star would have continued to rise. But Rábago Palafox died in 1995, at age 47.

The Vampire Before NAFTA: A Review of The Voice of Blood
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