This month we welcome SHANE MORAN to our pages for the first time, and we welcome back FATIMAH ASGHAR; both poets have poems forthcoming in the print journal. Gratitude to both poets from all of us at TC.
Table of Contents:
—Fatimah Asghar: “[madness]” and “[pagamento]”
—Shane Moran: “Cedar of Lebanon” and “Les Docks / Chatelet”
This poem is republished from Water & Salt by Lena Khalaf Tuffaha, a guest at Amherst College’s eleventh annual literary festival. Register and see the full list of LitFest 2026 events here.
Do not name your daughters Shaymaa,
courage will march them
into the bullet path of dictators.
Do not name them Sundus,
the garden of paradise calls out to its marigolds,
gathers its green leaves up in its embrace.
Do not name your children Malak or Raneem,
angels want the companionship of others like them,
their silvery wings trailing the filth of jail cells,
the trill of their laughter a call to prayer.
These poems are republished from suddenly we by Evie Shockley, a guest at Amherst College’s eleventh annual literary festival. Register and see the full list of LitFest 2026 events here.
perched
i am black, comely,
a girl on the cusp of desire.
my dangling toes take the rest
the rest of my body refuses. spine upright,
my pose proposes anticipation. i poise
in copper-colored tension, intent on
manifesting my soul in the discouraging world.
Translated by DANIEL CARDEN NEMO
Translator’s note
Marin Sorescu, despite being one of the most translated Romanian writers, is one of the literary world’s best kept secrets. The reason for it, to my mind, lies squarely in the quality of existing English translations, as many of them have failed to capture his poetic essence. Twice nominated for the Nobel Prize in Literature, he never received the award based on his translated work.
Like many of his poems, “Map” reveals Sorescu’s depth of thought and highly associative mind, and above all his ability to convey the most complex emotions and contemplations into a multi-layered poetry that remains accessible to all. The challenge in the translation here comes from the ability to convey an intimate, almost didactic exploration of the body, revealing the speaker’s vulnerability as he opens himself up for in(tro)spection. The body becomes a cartographic landscape, with known and uncharted areas, while the self is a terrain molded by time, animated by the soul, and inevitably oriented toward death. The poem blends stark physicality with cosmic metaphysics, suggesting that human identity, just like the Earth’s geography, contains vastness, complexity, and the unknowable. It is consciousness which imbues the world with dynamism. Without internal life, and perhaps without poetry, existence becomes static, ornamental.
#giftinspo for Cottagecore Girls
—Dispatch from Santa Clarita, California,
nowhere near a cozy forest cottage, August, 2025
Nose heavenward, ears like capsized canoes,
I unbox a silver-gray rabbit, painted to look
metal and heavy. My new useless
bookend. Plastic. Stiff and unsteady—
I would have missed it on a shelf, out shopping
like people used to do, maybe held its weight
New poems by ALEKSANDAR HEMON and STEFAN BINDLEY-TAYLOR
This month we bring you new work by writers who also have careers in music.
Table of Contents:
—Aleksandar Hemon, “Snipers”
—Stefan Bindley-Taylor, “Naming the Wind” and “At our first house”
Aleksandar Hemon (left) and Stefan Bindley-Taylor (right)
I
Wondrous, the emptiness so close, close to an absent sea,
only sea-fields, wheat-fields, golden stubble,
though we were walking together on a path to find the sea.
Wandering together under a wide horizon.
On a road called Pas de l’Assassin.
New Work from LAUREN DELAPENHA, AIMEE NEZHUKUMATATHIL, ROBERT CORDING, and RACHEL HADAS
Table of Contents:
—Lauren Delapenha, “Exodus”
—Aimee Nezhukumatathil, “What They Didn’t Tell Me about Motherhood”
—Robert Cording, “A Sun”
—Rachel Hadas, “Matsinger Forest”
Exodus
By Lauren Delapenha
The Times article is about the president’s mind
and Xerox-based enterprises like Kodak, Blockbuster, dead-end jobs, and marriages,
and I am so glad the article mentions marriages
given my recent apophatic commitment to romantic
ruination, because who among us hasn’t pressed a finger into the scab
for that foreign roughness, that delicious, needling shaft of sunk cost and thought
that anything is probable in the desert,
even Moses neatly halving an ocean for a nation
New work from RODRIGO TOSCANO, OLENA JENNINGS, EZZA AHMED, and WYATT TOWNLEY
Table of Contents:
—Rodrigo Toscano, “One Like”
—Olena Jennings, “The Pine”
—Ezza Ahmed, “The River That Was and Wasn’t”
—Wyatt Townley, “The Longest View” and “Christina’s World”
One Like
By Rodrigo Toscano
“Couple Bach preludes, a binding ceasefire,
One Dickenson poem, and we’re all set”
That was the post, like a gleaming beach pier
Charming half way out, torn up at the tip
Battered by statecraft, departmental verse.
This month we bring you work by Dylan Carpenter, a poet new to our pages. Dylan also has poetry in an upcoming print issue of The Common.
Let me, for a little longer, ponder that familiar place
I remember but would not, could not, and had refused to face
Wholly as a place unto itself, instead of an idea
That concealed a recherché emotion: My Wallonia.
How do I begin? The place that I endeavor to portray
Languishes, a somnolent geography, and slips away.
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