On Empathy & Time, Re: Wildness

By MELISSA MATTHEWSON

matthewson dispatch

Applegate, Oregon

I killed a turkey with my car while thinking about empathy and the Brewer’s Spruce. I hit it with such force the bird flew across the highway landing in the ditch with the thistle and grass. I killed a turkey and didn’t turn back, but the light from the passing afternoon was like honey, and with the traffic steady at four p.m. on the two-lane road and the storm having just moved east, I considered the death of the animal a possible inconvenience to my daily commute. A temporary delay. But no—that’s not what it made me feel. In fact, I’d wished I reversed my car—I did not feel indifference for killing and thought perhaps my duty was to bury the animal, collect the feathers from the highway and gully (strewn there like a child’s game of marbles or rice, flowers across graves, split metal framework, diamonds) and string them through my yard on lines and sticks, decorate the children’s fort, or at the very least, light a candle for its soul. Perhaps strip its body of organs and skin and keep it for dinner. But I didn’t do any of those things. I kept driving, alert to the lingering startle of both bumper and bird. How does a turkey die? What part of its body stops working first? The heart? Did it break its backbone, its sympathetic trunk? Had it only been out foraging for spring buds and last year’s acorns? And what had I been thinking of empathy? —of certain identification with the mountains, of home, of wishing for political forces to cultivate a sense of care for this place I live, a kind of fellowship maybe, something meaningful, close to love. I was sad about the turkey, and the government too, until upon arriving home, I forgot entirely of the bird and death and Republicans when my daughter met me in our driveway, “Hi, Mama!,” half embracing me with a toothy smile and a bowl of crackers in her small hand.

On Empathy & Time, Re: Wildness
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The Common Young Writers Program

The Common Young Writers Program is a two-week (Monday-Friday) online creative writing program for high school students (rising 9-12). Taught by the editors and editorial assistants of Amherst College’s literary magazine, the summer 2020 course will focus on the short story. Through writing exercises and contemporary reading assignments from The Common, we will introduce students to the building blocks of fiction (scene, character, plot, image) and guide them through the process of writing and revising their own short stories.

The Common Young Writers Program
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Kazakhstani Poet Aigerim Tazhi in Translation

Poems by AIGERIM TAZHI

Translated from the Russian by J. KATES

Image of book cover

Translator’s Note

For the most part, the Russian poets I have translated—however different in style and school—have been of my own generation and share many of my persuasions. How much more distant from me is Central Asia? Russian serves as a shaky bridge I cross with trepidation. But for the Kazakhstani poet Aigerim Tazhi, born in 1981 in Aktobe—formerly Aktyubinsk—Russian is solid ground underfoot. “I live in Kazakhstan,” she has said, “but I was born in the Soviet Union… I did not choose the Russian language, did not evaluate it… It’s just the language that I’ve spoken since childhood.”1

Kazakhstani Poet Aigerim Tazhi in Translation
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Malus

By PETER ARSCOTT

apple

This apple I have only just bitten into as I stand in the cool dank store room tastes of November, already old and fading, and my tongue, so often dulled by the anaesthetizing effect of regular wine drinking, red wine in fact, and never white which has always produced a low-level ache in what I assume is my liver and is thus to be avoided at all costs, my tongue, as I said, was ambushed by the apple’s unexpected weariness, yes, a tired and indecisive flavor that was perhaps on the turn, perhaps only a day away from being rotten, its wrinkled skin an obvious warning of what lay in wait as it pressed against the roof of my mouth.

Malus
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A Walk Inside the Epicenter

By MARIA TERRONE

Elmhurst Hospital in Queens, NY
Jackson Heights, Queens
           

By the time you read this, more of my neighbors will be dead.

And yet, on this sunny spring day that belies the grim headlines, I need to go for a walk, that most mundane of human activities. I need to pretend that life is normal. To forget that just a short distance from my apartment stands Elmhurst Hospital, the epicenter of the coronavirus within New York City, itself America’s epicenter.

A Walk Inside the Epicenter
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April 2020 Poetry Feature: Poems from John Freeman’s THE PARK

This month, we’re happy to bring you poems from JOHN FREEMAN’s forthcoming collection, The Park, out on May 5th from Copper Canyon Press.

 

Cover of John Freeman's "The Park," a black and white photo of park benches and trees

Table of Contents:

  • Easement
  • Ghost
  • Youth
  • Halfway
  • On Love
  • The Politician

 

John Freeman is the editor of Freeman’s, a literary annual, and author of the poetry collections Maps and The Park, as well as three books of nonfiction, Dictionary of the Undoing, The Tyranny of E-mail, and How to Read a Novelist. He has also edited three anthologies of writing on inequality, including Tales of Two Americas and Tales of Two Planets, a new book about global inequality and climate change, forthcoming from Penguin. The former editor of Granta, he lives in New York, where he is writer-in-residence at New York University. The executive editor at Lit Hub, he has published poems in Zyzzyva, The New Yorker, The Paris Review, and The Nation. His work has been translated into more than twenty languages.

April 2020 Poetry Feature: Poems from John Freeman’s THE PARK
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Not a Word Among Us

By DAVID MEISCHEN

The walk to the outhouse was some thirty yards—across the bare back yard, past a fishpond filled in with sand after a turkey had drowned there, and through a gate at the garden fence—to a little unpainted hut behind two salt cedar trees. It was quiet inside, the murk tempered by sun slanting in between weathered boards. The hush was lovely—breezes outside cocooning the silence inside. When I was seven years old, I discovered solitude there. And the pleasure of staring. At men. In lieu of toilet paper, our outhouse was stocked with last year’s mail order catalogs, with pages of men’s underwear for me to hover over. I was several years shy of learning about sex—from a Roman Catholic booklet so primly informative that I pictured two fully clothed adults just returned from Sunday Mass, facing each other in straight-backed dining chairs and holding hands while some kind of mystical transference occurred between their covered laps. Though I had been to confession, I hadn’t yet discovered that my body could be an instrument of sin, of shame. Somehow, I had absorbed the need for privacy, for keeping the secret of my mail order fascination.

Not a Word Among Us
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Arrayga’s Inspection

By MUSTAFA MUBARAK

Translated by ROBIN MOGER

 

From early morning, Arrayga had been smoking ravenously, cigarette after cigarette, staring blankly at the bedroom ceiling. When she opened the third packet, Kultouma came over and, eyes welling with tears, anxiously inquired: “Arrayga, calm down. What is it, sister? You’re going like a train: puff puff puff. Speak to me, Arrayga. What’s upset you?”

Arrayga’s Inspection
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Love, Under a Falling Sky

By MEGAN PINTO 

Say Chicken Little was right, that the sky 
is falling. What I want to know is,
will the moon fall too? Will it bounce softly 
like swiss cheese, or will it crumble
like a stale cookie? Do skies bruise? 
Do they ache? And is the sky
a metaphor for all the ills and evils 
of the world? A testament
to how the earth can only hold so much 
pain and grief? But why
would God send a chicken? Would you listen 
to a chicken? Is the chicken a metaphor 
for Jesus? Did the Bible mention this 
and somehow I missed it? Is this because
in 6th grade my teacher made me promise Jesus 
my virginity in a gift basket? Actually, if the sky falls,

Love, Under a Falling Sky
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