Amherst College’s sixth annual literary festival will take place virtually this year, from Thursday, February 25 to Sunday, February 28. Among the guests are 2020 National Book Award poetry finalists Tommye Blount and Natalie Diaz. The Commonis pleased to reprint four of their poems here.
Join Tommye Blount and Natalie Diaz in conversation with host John Hennessy (poetry editor of The Common) on Saturday, February 27 from 11am to noon.
By SARA ELKAMEL
Tents in a Bedouin-style camp at the Wadi Rum desert in southern Jordan. Courtesy: Soraya Ghezelbash.
Wadi Rum, Jordan
for Yvonne
We pull the black of Rum over our eyes
like skin. God’s earth is vast, vast, vast—but by day
she wrapped her limbs around my limbs and drew
my air. I follow her into the dark, consider saying: Please,
I don’t know what you need—but all I see is red.
At the foot of the dunes I push her, soft as the sin
that tips the scale. I run away like a ghost, a demon, a silent drum
in the faultless dark. Not a quiver of light around my bones.
By NICK STORY
The Rectangle
When my marriage ended I moved to an apartment building that was mostly uninhabited. I never saw the other tenants. There were traces of them here and there—a sock left in a dryer, muted weeping down the hall, ambulances flashing out front—but I couldn’t have told you what any of my neighbors looked like.
There was a serious cockroach infestation in my unit. In the kitchen, the roaches chewed through boxes of crackers, fresh fruit, bags of rice. They crawled over the counters, peeked up through the sink drain, and burned in the oven. In the middle of the night, I’d spot them on the ceiling, circling the kitchen light like planets in a model solar system.
Translator Jethro Soutar speaks to managing editor Emily Everett about three pieces he translated from Portuguese for Issue 20 of The Common magazine. These pieces appear in a special portfolio of writing from and about the Lusosphere—Portugal’s colonial and linguistic diaspora around the globe. In this conversation, Soutar talks about the complexities of translating poetry and prose: capturing not just the meaning of a piece but the feeling and atmosphere of it, and the culture behind the scenes. He also explains a little of the colonial and racial history of Portugal, Cape Verde, and Mozambique, and how those events echo today through the literature and language of modern Lusophone countries.
This interview is the fifth in a new series, Writers on Writing, which focuses on craft and process. The series is part of The Common’s 10th anniversary celebration.
Read Moloney’s Issue 19 story, “Counsel.”
David Moloney worked in the Hillsborough County Department of Corrections, New Hampshire, from 2007 to 2011. He received a BA in English and creative writing from the University of Massachusetts Lowell, where he now teaches. He lives north of Boston with his family.
By JINJIN XU
#1
New York City March 17, 2020
For the past few days, I’ve vacillated between panic, helplessness, and feeling like a prophetic, burning witch. I spent the first two months of this year watching the pandemic take hold of China—from the arrest of Dr. Li WenLiang for spreading “false rumors,” to Wuhan and the whole country going into lockdown, to my friends mailing masks back home to their families in China—sitting in my NYC apartment as the virus swept across Korea, Iran, Italy, making its way across the globe towards me.
Curated by ISABEL MEYERS
We’re starting 2021 with a Friday Reads packed with recommendations set everywhere from the wilderness of British Columbia to modern day Nigeria. Recommenders from the TC team reflect on how their recent reading tackles issues of gender and sexual identity, strained familial relationships, and of course, a classic murder mystery or two.
Recommendations: My Cousin Rachel by Daphne du Maurier, We Have Always Lived in the Castle by Shirley Jackson, The Reconception of Marie by Teresa Carmody, The Wild Heavens by Sarah Louise Butler, The Death of Vivek Oji by Akwaeke Emezi
The Common will receive its fifth grant from the National Endowment for the Arts in 2021. The Art Works grant of $15,000 will be awarded to The Common to help it publish diverse writers, expand its readership, and support The Common’s international portfolios.
Essay by HEBE UHART
Translated from the Spanish by ANNA VILNER
Essay appears in both Spanish and English.
Translator’s Note
Hebe Uhart’s “A Trip to La Paz” is delightfully misleading in that we never arrive at our destination; we never see the city that touches the clouds. This essay is concerned with a different kind of beauty—the getting there, the buzzing potential of travel. It encapsulates why we embark on grueling car rides, on flights, on long train journeys, in the first place.
By ABBIE KIEFER
Gardiner, Maine
Raw granite and brick, hip roof like a helmet. At its height, it hummed: seventeen trains daily, lumbering in along the river. I imagine E.A. here with his ticket and his trunk. With his back to the brick, listening for a whistle.
Now the depot is a cannabis dispensary. They keep records in the ticket booth, make brownies in the basement. Preservationists call this adaptive reuse.
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Celebrating 15 Years