By ANANDA LIMA
I wait and weigh the odds
of me being who feeds
and feeds and scrolls through
feeds feeding on grey
Translated by NICHOLAS FRIEDMAN
You want me daybreak,
you want me sea-spray,
you want me pearl-like.
You want me lilywhite
and, above all, chaste—
my perfume faint,
my petals shut tight.
Translated by MAIA TABET
The Long Winter
“They’re here—” she was about to scream, bolting upright, her heart pounding in her chest. It was as if a snake had brushed against her bare skin under the comforter. He snatched his arms away from where they lay against her neck and her cleavage. They were both naked: beads of sweat quivered on the hairs of his broad chest, and her breasts trembled over the volcano that had erupted in her heart.
By LUQMAN DERKI
Translated by JONATHAN WRIGHT
A Trip to Ain Diwar
We woke up at five o’clock in the morning and ran to the Hophop bus that was waiting at the school gate. It was colored and beautiful and had the words Scania speaks and the Volvo hurts written on it. The children stood in line in an orderly fashion as they boarded the bus. Teacher was carrying a stick made from a pomegranate branch given to him by the son of a local official, who is lazy but who always comes first in class. Sheikh Khadir, the driver, was washing the bus, and as they boarded, the children splashed the children behind them with water.
On the Friday of LitFest, Amherst College’s annual literary festival, The Common Editor in Chief Jennifer Acker sat down with Jennifer Egan, winner of the Pulitzer Prize for fiction, among other accolades, to talk about crime, place, and “timely” writing. This is an edited version of that live interview from March 1, 2019.
By JOHN KABL PSAKWNE WILKERSON
High Plains, West Texas
The West Texas winds blew heavy dust that clung to my eyelashes, and a bit of sand got into my eyes. It was a cool day in mid-summer, but Lubbock’s never-ending parking lots gave off residual heat that made me feel like I was baking. Lubbock has too many parking lots. Driving through town, lot after lot passing my window, made me long for the dull-green landscape of the plains only fifteen minutes away. I kept on down Broadway, past the empty lots where houses once stood, past the empty downtown (even though it was only 4:30pm), past the old segregated part of town that always brings out a bone-deep sadness in me, eventually making it past the last highway. I could see the NTS tower in my rearview mirror. Mac Davis’s song was right, I really like seeing Lubbock in my rearview mirror. I could have appreciated it more if it didn’t leave so much dust in my eye.
We travel together to the outskirts of Alone. Hunger permeates the car like teenage funk, but there are no crumbs on the seats. I do not allow snacking.
I don’t know what is the most surprising—that a tumor grows inside me, that my love is not in the car, or that Hope sits in the backseat. A pillow, a book, and a look that annoys me every time I glance at her in the rearview mirror.
RAED RAFEI interviews ODAI AL ZOUBI
When popular uprisings against the Baath regime started in Syria in 2011, Odai Al Zoubi was in the United Kingdom working on a PhD thesis in Philosophy. He quickly became involved in the revolution, writing political essays to defend the right of Syrians to self-determination. But his literary passion was fiction. Since 2011 he has published tens of stories and literary essays in journals such as aljumhuriya and Romman and most recently “Silence” in The Common’s forthcoming Issue 17. “Silence” marks Al Zoubi’s first appearance in English translation.
Al Zoubi’s short stories capture feelings of transience shared by many displaced Syrians. They are often set in spaces of transition: a balcony overlooking the sea in Beirut or a mall in Dubai. There, characters caught between a past in ruins and an uncertain future have fleeting conversations, sometimes about matters that might seem trivial considering the gravity of Syria’s situation. But from the attempt to resume the banality of everyday life springs a profound existential anxiety linked to irremediable loss and a striving for survival.
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 fourth installment, we offer Ron Welburn’s “Seeing in the Dark” and “Alternate Charles Ramsey” by Reginald Dwayne Betts.
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