Curated by: SARAH WHELAN
Issue 17 is almost here! Subscribe by March 31st to get your copy, then kick off the weekend with a book recommendation from one of our Issue 17 contributors. This month, our contributors are taking us on inventive narrative journeys across all seven continents and through all four corners of consciousness.
Recommendations: I, the Divine by Rabih Alameddine, Welcome Home by Lucia Berlin, Naming the No-Name Woman by Jasmine An, The Golden Notebook by Doris Lessing
By DAVID ROMPF
It’s mid-January, and I’ve come to northern Michigan to see a frozen river layered with fresh snow. On winter days, a long time ago, a young woman skated across this river to be with the man she would eventually marry. She lived in Hancock, a town draped on hills opposite my vantage point in Houghton, which sits on highland and spills, like its sister, to the Portage River. Her beau lived on the Houghton side and worked in a hotel with cupolas and a grand ballroom, two blocks up from where I stand observing the expanse of ice. I can’t understand how she skated after a snowfall, or in bitter wind and blizzard whiteouts.
In conjunction with The Poetry Coalition’s March 2019 joint programming exploring the theme “What Is It, Then, Between Us?: Poetry & Democracy,” The Common presents four weekly features this month, each addressing and extending this national—and international—conversation.
In this, our second installment, we offer Megan Fernandes’s “White People Always Want to Tell Me They Grew Up Poor” and William Brewer’s “Daedelus in Oxyana.”
Location: Galatia, Illinois
Now I’m thinking of the time my father worked in the horse stables for Tom Wilson. This was after the coal mines had shut down for good, and at 40 years old, after spending most of his adult life underground, he now found himself adrift. I was just 13 then, and while I was certainly old enough to understand the strain the loss of his union job put on our family, my parents did what they could to shield me from the realities that lay ahead.
Poetry by KHAL TORABULLY
Translated by NANCY NAOMI CARLSON
Note from the translator:
I first came across Khal Torabully’s work in Patrick Williamson’s The Parley Tree, a bilingual anthology of poets from North Africa, sub-Saharan Africa and the Arab world. I was immediately drawn to Torabully’s lush language and sea imagery, and developed an even greater appreciation of his work when I learned more about the context of these poems—giving voice to the millions of men and women who endured horrific conditions as indentured workers during the years between 1834 and the end of World War I. Sometimes tricked into indenture, these workers, mostly from India and China, were separated from their families and homelands, and were transported to Mauritius in the same ships that had formerly carried slaves. Many were forced to stay and work in Mauritian sugar cane fields, while others were sent to other regions under colonial rule, and subjected to cruel conditions in the cargo hold of ships during transoceanic voyages. Similar to the way Aimé Césaire coined the term “negritude,” Torabully coined the term “coolitude,” imbuing the pejorative word “coolie” with dignity, pride, and a humanity that transcends all geographical, biological, and ethnic divisions.
In conjunction with The Poetry Coalition’s March 2019 joint programming exploring the theme “What Is It, Then, Between Us?: Poetry & Democracy,” The Common presents four weekly features this month, each addressing and extending this national—and international—conversation.
In the first installment we offer Lawrence Joseph’s “In That City, In Those Circles” and “The Beauty of Boys Is” by Vievee Francis.
This year marks the fourth LitFest, an annual literary festival hosted at Amherst College. From February 2-March 2, students, professors, alumni, and community members came together in Amherst College’s Johnson Chapel to hear National Book Award finalists Jennifer Egan, Brandon Hobson, and Jamel Brinkley speak about their writing processes, what writing means to them, and the purpose of writing. On March 2, Pulitzer Prize-winner Elizabeth Kolbert and NYT-bestselling author Charles C. Mann ’76 had a robust conversation about environmental changes and science journalism. Additional events included author masterclasses, a poetry slam, career panels, and a literary tour of Amherst. LitFest is sponsored by The Common, the Center for Humanistic Inquiry and the Emily Dickinson Museum.
Click here for a full write-up and more photos.
Photos by Jiayi Liu and Matai Curzon ’22.
By JULIA PIKE
I lived on Dread—
To Those who know
Emily Dickinson
In Emily Dickinson’s bedroom, a white house dress hangs on a headless mannequin in front of the tiny writing table where she penned 1,789 poems.
Event Date: Wednesday, March 27–Saturday, March 30
Location: Oregon Convention Center
The Common will host a booth at AWP 2019 from March 27–30. Visit us at table T7040, and check out these panels, featuring Editor-in-chief Jennifer Acker and Managing Editor Emily Everett! More info below.
Movie directed by CIRO GUERRA and CRISTINA GALLEGO
Review by HANNAH GERSEN
From its joyous opening dance sequence to its melancholy ending, Birds of Passage (Pájaros de verano) is unlike any movie you have seen about illegal drug trafficking. It’s a gangster movie that downplays violence, looks closely at attempts at peacemaking, and is centered on the fate of a mother and a daughter. Set in Colombia between the late 1960s and early 1980s, the film is told from the perspective of a Wayúu family who live in the arid, northern region of the country and become significant exporters of marijuana to the U.S. Their success in the drug trade brings wealth, but it also pulls them into a world of violence and greed that engulfs and divides their family and their community.
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Celebrating 15 Years