Translated by MARTHA COOLEY and ANTONIO ROMANI
— You stay here in the shade all day, said the young girl, don’t you like going in the water?
The man gave a vague nod that could have meant yes or no, but said nothing.
—Can I use tu with you?, asked the girl.
—If I’m not mistaken, you just did, the man said and smiled.
His name was Gustave Eiffel, and he built his giant French tower because it was impossible—that is what everyone said—to build something so tall. They said the tower would topple under its own weight. Or the wind would blow, the metal would bend, and the rivets would snap. The tower would plunge into the city.
To get anywhere from the borgo—the walled-in cluster of medieval houses and skinny lanes connecting the castle, the church, and a tiny grassy square—one must go steeply downhill and then steeply up. Each morning, I choose a different high point from which to take in the magnetic hills of this corner of Lunigiana in northwest Tuscany, where friends have made a part-time home. Once I saw a handful of seniors out for a stroll, and I often say hello to a man in his eighties whose dog takes him out for jaunts, very slowly due to his heart trouble, but otherwise I encounter no one.
MELODY NIXON interviews BENJAMIN ANASTAS
Benjamin Anastas is the author of Too Good to be True, a memoir described by The New York Times as “smart and honest and searching,” and “so plaintive and raw it will leave most writers… with heart palpitations.” He has written two novels, An Underachiever’s Diary, and The Faithful Narrative of a Pastor’s Disappearance, as well as multiple reviews and essays, one of which, “Boys with a Synth,” is published in Issue 06 of The Common. Melody Nixon talked with Anastas about his skepticism for social media, the role of the writer in society, and memoir as fiction’s “whiny and embarrassing stepchild.”
Pollen found in one of the Shanidar graves suggests that Neanderthals, too, buried flowers with their dead.
The pollen could be mere coincidence—
traces left by a prehistoric rat
that ate flowers near the grave—but we prefer
By DANIEL TOBIN
The Cat’s Eye Nebula—one could begin
there as a way of showing how being
folds in upon itself, always to form
new configurations. That’s where we’re from,
By NEIL SHEPARD
June’s consuming,
stripping down darkness
to its thinnest hours,
swallowing sleep. Not
the fireflies, not the moon,
Never again will I feed the mustangs my mind,
Outstretched in the grey moon of morning.
Ours is a ritual of nevers, the lung’s nocturne
Some meager talk of Larkin
over quiche and pâté, olives
the proclaimed ragamuffin
picked at as though our lives;
Scavenging down the blue potholed hill, rocking
out of cobalt acid, they steam chromatic, these Elijahs
in their cloud wheels, fatherless and man-killing,
their guts bloated with red heat, lice, cast-iron-soldiers
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Celebrating 15 Years