Three days of dirty weather and everyone saw it on their way home from work. It was dumped onto the Silver Strand State Beach parking lot— the keel naked and scabbed with barnacles, the mast canted. Someone said the park maintenance people must have hauled it up out of the surf. It looked like a forklift had punched two holes in the hull.
This weekend The Common will be at CLMP’s Lit Magathon in NYC! There will be a reading on Saturday at 4pm in the DeWitt Wallace Periodical Room.
This weekend The Common is going to the 2012 Lit Magathon in NYC, hosted by CLMP. There will be a reading on Saturday at 4pm.
Book by MICHAEL ONDAATJE
Reviewed by
Welcome Aboard
My childhood years were marked by the roar of sea waves. I would wake up early on Sunday mornings to the sound of the waves rushing forth and striking the shore before withdrawing. The growth of coconut trees outside my window meant that I could not, from my room, watch the Bay of Bengal—for that I would have to climb up the staircase, a task that, to a ten-year-old, is not even conceivable on Sunday. So I would lie there, blinking in the leaf-filtered sunlight, listening to the waves. I fancied they had a dialogue: saying I am there, when striking the shore, and then I am not there, when withdrawing.
So years later, it was a windfall when I bought Michael Ondaatje’s novel, The Cat’s Table—that is about a sea journey—and on the same day, a little ship that had been put together by a Turkish artist from scraps found along the sea: driftwood, sail, and mooring hooks.
The Common joins the Emily Dickinson Museum for a garden party to celebrate “writers, their homes, and their legacies.” Margot Livesey will read from her latest novel, The Flight of Gemma Hardy. There will be light refreshments, tours, an open house, and a visit from A.N. Devers, the founder of Writers’ Houses:
http://writershouses.com/
More event info here: http://bit.ly/KLzmFP
Down around Port Arthur the tumbleweed, that mobile diaspore,
flings its seeds in a race with time, dying in a pool of rain or oil.
And what they have is a lot of sky and oil tanks coddling crude
and girls in much more underwear than they wear way up North.
Mining land is deeply scarred and raw, the gravel pits alien,
like lunar landscapes or the bank where Charon plies his trade.
The young ones necking in their cars, the ugly bars, showed you
the rocking road away from that stripped coastal town.
The dogs were the first to greet us. Two came trotting into the parking lot of the Masseria. A farm manor on a mountaintop, the Masseria was built into the cliff of tufa, the sandstone of the mountains that ring the Valley of the Jato. Like one of Michelangelo’s Captives struggling to be free of marble encasement, the house—with all its many additions—seemed caught in the act of struggling to free itself of the mountain.
By BRETT FOSTER
I recollect at last those first few weeks
on Beacon Street: broke newlyweds, we hid
our finite riches in a little room,
a basement studio whose cost seemed gruesome.
Fresh from Corpus Christi, you learned to speak
a northern language, talk of “quarters” wide-
mouthed like a Chowdahead’s wicked idiom.
On the stern of the Sharp, Mendee and I process fish diets. She slings a camouflage-green burbot over her thigh and slices its belly from tail to gills so the intestines spill out. Finding the stomach, she chops it off and splits it open, then hands it to me. It is rubbery and limp, like a popped balloon. I hold it over a petri dish and squirt water into the pink ridges so that the burbot’s last meal pours into the dish. This one had a few snails. The last one had three plump silver grayling stretching it taut, which we gutted in turn to see what they had eaten. This is how ecologists reconstruct a food web: unlocking who’s inside whom, like opening a Russian nesting doll.
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