The railroad track that ran behind my childhood home–one of several cheaply built ranch houses set on the edge of a small town, pre-approved for FHA loans–seemed a link to everything in the world, the same as every river or creek I passed over on bridges or waded in while fishing, led to bigger water: the Ohio, the Mississippi, the Gulf. Rails led on to other towns, led to St. Louis, which, according to elementary school textbooks, led everywhere west, connected everywhere east. And I wanted to be close to them.
March 2014 Poetry Feature
Celebrate the advent of spring with new poems by seven of our spectacular contributors.
Memory of Cold and Wind
His friends ask us why we’d go to Liverpool. We don’t have an answer to give them and I forget the true one. We look at each other, shrug and say we’d heard it’s the most romantic city in the world.
Providence
On the last day of the conference, we take a short bus ride to Woonsocket, Rhode Island, a sleepy town in the Blackstone Valley, just south of the Massachusetts state line. Situated along the Blackstone River and close to the Eastern Seaboard, the area was at the forefront of early American industry, powered first by water and later by steam. Today, a bright winter afternoon in February, snow melting underneath a clear uncurtained sky, the town center of slow-moving traffic and brick storefronts fringed with weathered canvas awnings has the distilled reverie of an elegy.
A Month on the Edge of the Caspian Sea
Baku is a city intent on reinventing itself block by steady block. Apartment high-rises and office buildings from the Soviet ‘70s — pock-marked and stained gray by pollution — are transformed in white stone at a frightening pace. Baku today reminds me more of Vienna or Zagreb than a former Soviet republic that clings to the edge of the Caspian Sea.
One Version of a Daily Practice
1. The Origin of the Species.
Put the yellow kettle on. Ignore the floors in desperate need of cleaning. Fill the small metal base of the Bialetti with water (just to the safety valve). Spoon coffee from the ice-cold Viennese candy tin into the funnel. Screw the top on (tight, but not too much so) and put it on the stove. Don’t let the flame overtake it. Tuck the yellow and green-leafed curtain behind its hook. Look out at the ugly building across the way, the Greek and American flags, the third floor doors to an abandoned idea of balconies.
Sound City
Artist: EMEKA OGBOH
Emeka Ogboh | Bus
Lagos, Nigeria is growing fast but travels slow. The city, which is Africa’s largest, has doubled in population within the past seventeen years, crowding its roads and bridges with many millions of people – too many for the city’s recent infrastructure investments to keep up. Traffic jams, called go-slows, ensue. But while Danfos, the yellow minibuses that are public transportation in Lagos, tend to get stuck, its passengers don’t. While buses crawl, Lagosians move: playing street music, revving engines, hawking products, shouting directions and taking phone calls.
Winterhospital
Language as the Homeland: An Interview with Eleanor Stanford
ZINZI CLEMMONS interviews ELEANOR STANFORD
Eleanor Stanford is the author of the memoir História, História: Two Years in the Cape Verde Islands, and of a poetry collection, The Book of Sleep. Stanford’s essay “Geology Primer (Fogo, Cape Verde)” was published in Issue No. 06 of The Common. Fellow Philadelphian Zinzi Clemmons chatted with Stanford about poetic form, the importance of language, and ways to feel at home in the world.
Review: Dragon Logic
Book by STEPHANIE STRICKLAND
Reviewed by
Begin with the cover of Dragon Logic: double Garamond italic ampersands. Inverted they propose elegant dragons against a green hide background. “TWO dragons,” Stephanie Strickland writes in the eponymous poem, “keep a pearl/in the air untouched/if yes then no if no then yes.” Their “dragon logic” insists that the reader consider sets that consist of themselves, a common problem in questions of reflexivity where the self of the self-reference is a human self. This proposition enlarges the idea of the juggling proposed by John Keats’ concept of negative capability—“when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.”