All posts tagged: Fiction

Writing the Rust Belt: Rosanna Young Oh Interviews Allison Pitinii Davis

Allison Pitinii Davis (left) and Rosanna Young Oh (right)

Allison Pitinii Davis (left) and Rosanna Young Oh (right)

ALLISON PITINII DAVIS and ROSANNA YOUNG OH explore how Davis’ personal connection to Youngstown, Ohio and scholarly interest in labor inspired her debut novella, Business. They discuss representing the Rust Belt in literature, their identities as eldest daughters who worked for their family businesses, and the dignity and ethos of the working-class communities that raised them. Allison Pitinii Davis is the author of the poetry collection Line Study of a Motel Clerk , Poppy Seeds, and Business, a novella in Agency 3: Novellas . She serves as a Visiting Assistant Professor of Poetry at Ohio State University.​​

Writing the Rust Belt: Rosanna Young Oh Interviews Allison Pitinii Davis
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Surveilled Terrain

By THOMAS EMPL 
Translated by ISABEL FARGO COLE

The ferryman wrenched the gangplank out of its mount, heaved a breath and hooked it between the boat and the dock. During the brief ride we didn’t say a word; he didn’t recognize us. On the coast, to the east of the town, a military jet took off and dipped straight into a breakneck loop to head the other way, trailing its sonic boom.

I’d shaved the night before. Mouth open, I fingered my smooth skin. Rough lines ran from my nostrils to the corners of my mouth, like incisions. My ears looked huge. When I got up in the morning, my mirror image startled me. It was as if someone had hung up one of those photos I never looked at, showing that out-of-place apprentice, expressionless at the joiner’s bench. I didn’t recognize myself until I heard my voice.

Surveilled Terrain
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Biography of a Dress

By JAMAICA KINCAID

This story is reprinted in honor of Amherst College’s eleventh annual literary festival, which features Jamaica Kincaid as a guest author. Register and see the full list of LitFest 2026 events here.

Early photograph of the author in a light-colored dress.

Image courtesy of the author.

The dress I am wearing in this black-and-white photograph, taken when I was two years old, is a yellow dress made of cotton poplin (a fabric with a slightly un-smooth texture first manufactured in the French town of Avignon and brought to England by the Huguenots, but I could not have known that at the time), and it was made for me by my mother. This shade of yellow, the color of my dress that I was wearing when I was two years old, was the same shade of yellow as boiled cornmeal, a food that my mother was always eager for me to eat in one form (as a porridge) or another (as fongie, the starchy part of my midday meal) because it was cheap and therefore easily available (but I did not know that at the time), and because she thought that foods bearing the colors yellow, green, or orange were particularly rich in vitamins and so boiled cornmeal would be particularly good for me. But I was then (not so now) extremely particular about what I would eat, not knowing then (but I do now) of shortages and abundance, having no consciousness of the idea of rich and poor (but I know now that we were poor then), and would eat only boiled beef (which I required my mother to chew for me first and, after she had made it soft, remove it from her mouth and place it in mine), certain kinds of boiled fish (doctor or angel), hard-boiled eggs (from hens, not ducks), poached calf’s liver and the milk from cows, and so would not even look at the boiled cornmeal (porridge or fongie). There was not one single thing that I could isolate and say I did not like about the boiled cornmeal (porridge or fongie) because I could not isolate parts of things then (though I can and do now), but whenever I saw this bowl of trembling yellow substance before me I would grow still and silent, I did not cry, that did not make me cry.

Biography of a Dress
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Juiced

By NEYSA KING

This piece is an excerpt from the novel How to Be Loved.

 

Cláudia’s eyeliner is dark as earth and heavy as her parrot-red lipstick. As she bends over to speak to me in low tones, her blouse falls open. I don’t know what it means to be attracted to her; I just want to be near her body. But she’s a college student from Rio, and I’m five years old. For the last year she’s been my nanny—dressing me, feeding me while Mom and Dad work. Every other Friday, if I’m good, she shucks me into my two-piece bathing suit with frills on the bottom and a pink butterfly on top and takes me to Singing Beach, where I can play with the skinny-legged sandpipers that the ocean is lava. Run, chase, run, chase, run, chase—my long, dark curls wet and heavy, and my suit bottom sliding down my straight hips—until the sunlight stretches as long and pale as a skeleton across the sand.

Juiced
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The Most-Read Pieces of 2025

2025 was a momentous year for The Common: our fifteenth anniversary, our 30th issue, even a major motion picture based on a story in the magazine. We’re more grateful than ever for our readers, contributors, donors, and friends.

Before we close out this busy year of publishing, we wanted to take a moment to reflect on the unique, resonant, and transporting pieces that made 2025 memorable. The Common published 269 contributors this year. Below, you can browse a list of the ten most-read new pieces of 2025 to get a taste of what left an impact on readers.

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Candy and Layer Cake: Zack Strait in Conversation with Richard Siken (and Five Poems)

“The whole world seemed like a five-paragraph essay but poetry rubbed against that. It was contrary and rebellious. That summer it rained a lot, and hard. We had a 100-year flood. It washed out bridges. I saw a house on the edge of a swollen wash lose its backyard and then get swept away. I didn’t want to talk about it, I wanted to make somebody feel it. I started writing every day. I was very bad at it. ”

—Richard Siken

The Most-Read Pieces of 2025
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Review: Stories From the Edge of the Sea

By OLGA ZILBERBOURG

Book cover of Stories from the Edge of the Sea

Many fiction writers aspire to mastery of the short story form. From commercial offerings such as the “MasterClass” online series to college curricula, we are taught techniques to create a strong character and a plot leading to a resolution. The goal? “To uncover a single incidence or series of linked incidents, aiming to evoke a single effect or mood from the reader,” as phrased by Sughnen Yongo writing for Forbes. I’m convinced that this conventional attitude that expects singleness from the short story is selling it short.

In his latest collection Stories from the Edge of the Sea, Andrew Lam delivers work far beyond that narrow definition of the form. The settings are complex. Even a five-page story can encompass several decades of a character’s life. Though many pieces focus on a single protagonist, often the cast of characters is big enough for a multigenerational saga. Sometimes, the perspective shifts unexpectedly from one character to another across time and space, and in other stories a first-person narrator’s voice that begins a story disappears and the story continues in the third person, as though looking over the shoulder of the earlier first-person narrator. The emotional effects of these fourteen stories are layered; they leave us with no easy truths, but push us away from stable shores into the stormy seas of human experience.

Review: Stories From the Edge of the Sea
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