Far from our house, winding roads
and years away. I promised we’d never
bring him here. Behind black iron gates,
brick walls smothered with ivy.
By KAREN CHASE
Light falls on ramshackle paint,
blue wooden slats, taxi pink and green tint sky,
fans paddling the outside breeze inside,
as Key West light vanishes into the Gulf.
A pebbled field with Fort Taylor at one edge,
sea at the other, objects undone by waves,
the sea, one forceful foot.
Transcript: Jane Satterfield Podcast.
Jane Satterfield speaks to managing editor Emily Everett about her poem “Letter to Emily Brontë,” which appears in The Common’s spring issue. Jane talks about her longstanding interest in the Brontë sisters, and why this pandemic poem is directed to Emily in particular. She also discusses letter-writing as a structure for poetry, and reads another poem published in The Common, “Totem,” which reflects on a childhood memory through more adult understanding.
Transcript: Leisl Schwabe Podcast.
Liesl Schwabe speaks to managing editor Emily Everett about her essay “The Marching Bands of Mahatma Gandhi Road,” which appears in The Common’s spring issue. Liesl talks about the time she spent in Kolkata, India listening to the mostly-Muslim marching bands perform at Hindu weddings and religious ceremonies, and what drew her to this subject. She also discusses the research, writing, and revision that went into this essay, her approach to teaching creative writing, and her next writing projects.
Transcript: Ben Stroud Podcast.
Ben Stroud speaks to managing editor Emily Everett about his story “Three Omens of Federico da Montefeltro,” which appears in The Common’s spring issue. The story fictionalizes a moment in the lives of historical figures from fifteenth-century Italy. In this conversation, Ben talks about finding his interest in writing stories set in ancient and medieval times, and what kind of research and play is required to blend fact and fiction in those stories. He also discusses his process for revising his work and teaching creative writing.
If you require a transcript or other accessible format, please contact us at info@thecommononline.org.
Anu Kumar speaks to managing editor Emily Everett about her essay “The Woman in the Well,” which appears in The Common’s spring issue. Anu talks about the vivid memories from childhood that inspired this essay about ghosts, fear, family dynamics, and violence against women in India. She also discusses the revision process for the essay, her interest in writing women’s untold stories, and her current writing projects.
I’m halfway home to Bed-Stuy
when I feel the cervical cramp.
I was told they’d be getting worse
Transcript: Romeo Oriogun Podcast.
Romeo Oriogun speaks to managing editor Emily Everett about his poem “The Sea Dreams of Us,” which appears in The Common’s fall issue. In this conversation, Romeo talks about his life as a poet in exile from Nigeria, and how that experience of exile appears in his poetry. He also discusses his writing process, the themes he often returns to in his work, and how growing up in Nigeria affects his use of language in poetry.
Transcript: Mary O’Donoghue Podcast.
Mary O’Donoghue speaks to managing editor Emily Everett about her story “Safety Advice for Staying Indoors,” which appears in The Common’s fall issue. Mary talks about crafting a story that explores two points of view within the same Irish family, both stuck inside during a strong storm, both coping with loss. She also discusses her work translating Irish-language poets, her interest in stories that require the reader to connect their own dots, and what it’s like to edit fiction for AGNI while writing her own short stories, too.
As the car passed the Flag and sped toward Za’abeel, Avi’s crisp V’s became softer and less pronounced—“wees,” even. By the time he crossed Sana Signal, coffee shops and villas having given way to the old city’s chai stalls and low-rise apartments, the languid, questioning “ahs” at the ends of his sentences had been abandoned, the tongue clicks dropped. “Paps, what time do we have to make a move to the souq?” he said to his dad on the phone, sounding like just another Bur Dubai kid. “Okay, I’ll be downstairs in an hour.” He gestured to the driver to pull up outside his building and hopped out, throwing the Capri-Sonne straw he had been chewing all the way from school onto the pavement. His gait had changed, too: on the Jumeirah side of the Flag, he adopted the exaggerated chest-swivel of the Khaleeji, ass jutting out, body taking up far more real estate than someone of his frame reasonably should. Here, however, he stepped within himself.
There were rules, though. If even one lochal or premium expat were spotted, accents would be drawn. Intonations would warp midway, vowels replaced with dressier ones like guest bedsheets.
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