All posts tagged: October 2025

Ars Poetica: Getaway Car

By JEN JABAILY-BLACKBURN

Telekinesis stories are the girliest stories because they don’t stop
at The Body. They say your borders are so made up. Girlhood is more
than ovaries tossing replica moons at the feet of The Moon.
Our home address is a syntax that serpentines like a mouse
attempting to cross, unperceived, the grandest of ballrooms.
That’s us, always leaping into the getaway car of daydream,
lit up lavender & tangerine. We are dancing with our mouths
like no one is listening because no one is listening but us.
It’s the wild freedom of silly gooseness, feathers to cushion being told
you’re useless, repeatedly, while still being used for everything. It’s waiting
in the waiting room’s washed-out light thinking I am
an exhausted mine. No matter how much care you pour into it,
The Body’s narrative is betrayal. This expirational thing.
Do you really want us to end there?

 

[Purchase Issue 30 here.]

 

Jen Jabaily-Blackburn is the author of Girl in a Bear Suit and works as the program and outreach coordinator for The Boutelle-Day Poetry Center at Smith College. Originally from Braintree, Massachusetts, she now lives in Easthampton, Massachusetts, with her family. For more, find her at www.jenjabailyblackburn.com.

Ars Poetica: Getaway Car
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Faction of None

By TAMAS DOBOZY

The videos of Christmas dinner were for Mom, or so Pete said. His gift, honoring the hours she’d spent preparing the meals. But he couldn’t fool me—or her. He filmed the dinners because it got him out of eating what she cooked: the tofurkey he hated, the beet salad that made him gag, the quinoa that sparkled like a plateful of sand. Pete would rather have starved than eaten food he didn’t like, which was most food, staying skinny as a nail with the hunger he preferred, as if craving was better than sustenance, desire superior to satisfaction, and want itself his personal god.

Faction of None
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The Melnikov House

By MARTHA COOLEY

In 1927, a Russian architect named Konstantin Stepanovich Melnikov built an astonishing home in Moscow for himself and his wife, son, and daughter. Using affordable materials (building supplies were scarce), Melnikov and his son pitched in alongside several hired laborers to frame and erect the house. A photo taken at completion shows the owner—a slender man dressed in a suit, spats, and top hat—standing proudly in front of his home, with his wife (sporting a plaid coat and matching hat) at his side.

The Melnikov House
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Podcast: Sarah Smarsh on “Bone of the Bone”

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Listen on Apple Podcasts.

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Listen on Spotify.

Transcript: Sarah Smarsh

National Book Award finalist SARAH SMARSH speaks to managing editor EMILY EVERETT about her career writing memoir, essays, and journalism centered on the experience of the rural working class in the US. Her essay in The Common’s fall 2014 issue, “Death of the Farm Family,” became part of her 2018 book Heartland: A Memoir of Working Hard and Being Broke in the Richest Country on Earth, which became an instant New York Times bestseller, was shortlisted for the National Book Award and the Kirkus Prize, and named on President Barack Obama’s best books of the year list.

Smarsh discusses her most recent book, a collection of essays from 2012 to 2024 titled Bone of the Bone: Essays on America from a Daughter of the Working Class, out this fall in paperback. The conversation ranges from what the media gets wrong about working class Americans to how our understanding of and interest in talking about class and access has changed since the early 2000s. Stick around to hear how Smarsh manages the dual identities of rural Kansas farm kid and nationally recognized writer-commentator on class and culture, and hear what she’s working on next.
 

Sarah Smarsh headshot and photo of her book "bone of the bone" 

Podcast: Sarah Smarsh on “Bone of the Bone”
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October 2025 Poetry Feature: From DEAR DIANE: LETTERS FOR A REVOLUTIONARY

By TINA CANE

headshot of the author black and white

Photo of Tina Cane by Cormac Crump

On DEAR DIANE: LETTERS FOR A REVOLUTIONARY
Between May 1968 and December 1971, poet Diane Di Prima wrote a poetry collection comprised of sixty-three “Revolutionary Letters.” Several years ago, I purchased a rare set of the first thirty-four of Di Prima’s letter poems—typed on long sheets of construction paper, stapled, and hand-corrected in ballpoint pen. Bought as a celebratory gift for myself, after having been awarded a fellowship, it’s a humble yet fierce extravagance. While the booklet appears sturdy, its yellowed pages are somewhat delicate. I rarely handle it—too worried about spilling coffee, or having someone in my house mistake the unassuming bundle for recycling. Most of the time, my sheath of Di Prima poems sits in my bookcase, atop a row of books by Marguerite Duras.

October 2025 Poetry Feature: From DEAR DIANE: LETTERS FOR A REVOLUTIONARY
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Some Kind of Corporate Retreat

By TERAO TETSUYA
Translated by KEVIN WANG

The piece appears below in both English and the original Chinese.

 

Translator’s Note

“Some Kind of Corporate Retreat” is collected in Terao Tetsuya’s Spent Bullets (HarperVia, 2025), a book of nine linked short stories about Taiwanese prodigies turned disillusioned Big Tech engineers. In official American narratives, immigrant experiences often become flattened into palatable arcs of resilience. But this story insists on being wounded, unresolved, and playfully deviant in its exploration of hollow relationships and a simmering desire for destruction.

Some Kind of Corporate Retreat
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Stop Being Precious About Process: Julian Zabalbeascoa interviews Michael James Plunkett

In this interview, JULIAN ZABALBEASCOA and MICHAEL JAMES PLUNKETT explore how a chance visit to the World War I battle site of Verdun sparked a decades-long journey that led to Plunkett writing Zone Rouge. Their conversation took place across time zones as Zalbalbeascoa was in Donostia-San Sebastian, Spain, and Plunkett was home in Columbus, Ohio, having just welcomed his second child. In their correspondence, they cover makeshift writing rituals from Morgan Stanley’s cafeteria to subway rides, the joys of publishing with independent presses, the art of dodging probable plot twists, resilience in the face of climate change, and “fiction’s ability to explore the human condition in ways data can’t.”

Left: Julian Zabalbeascoa's headshot. A bald man with facial hair poses in front of a body of water, looking into the distance.

Right: Michael Jerome Plunkett's headshot. A man with a grey beanie and facial hair smiles.  He's wearing a black Carhartt jacket.

Julian Zabalbeascoa (Left) and Michael Jerome Plunkett (Right)

Julian Zalbalbeascoa (JZ): Since The Common is a journal that celebrates how place functions in our lives, I thought we’d begin with the setting of your novel: Verdun, site of the decisive battle in World War I, which resulted in the deaths of over 300,000 French and German soldiers. When did your interest in Verdun (the place and the battle) begin? And when did you think to yourself, There may be a novel here.

Stop Being Precious About Process: Julian Zabalbeascoa interviews Michael James Plunkett
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