Elly Hong

Excerpt from “Two Sad Clowns”

By ELIZABETH MCCRACKEN

This piece is excerpted from a story in The Souvenir Museum by Elizabeth McCracken, a guest at Amherst College’s 2022 LitFest. Click here to purchase.

 

Cover of The Souvenir Museum by Elizabeth McCracken, the anthology from which this piece is excerpted. The cover shows a teal balloon dog on a bright yellow background, with the title and author's name in white sans serif font.

 

Even Punch and Judy were in love once. They knew the exact clockwise adjustment required to fit their preposterous profiles together for a kiss, her nose to the left of his nose, his chin to the left of her chin. Before the slapstick and the swazzle, the crocodile and the constable, before above all the baby: they’d known how to be sweet to each other.

Excerpt from “Two Sad Clowns”
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Excerpt from The Committed

By VIET THANH NGUYEN

This piece is excerpted from The Committed by Viet Thanh Nguyen, a guest at Amherst College’s 2022 LitFest. Click here to purchase.

 

Cover of The Committed by Viet Thanh Nguyen, showing a drawing of a man on a yellow background with red text

 

We were the unwanted, the unneeded, and the unseen, invisible to all but ourselves. Less than nothing, we also saw nothing as we crouched blindly in the unlit belly of our ark, 150 of us sweating in a space not meant for us mammals but for the fish of the sea. With the waves driving us from side to side, we spoke in our native tongues. For some, this meant prayer; for others, curses. When a change in the motion of the waves shuttled our vessel more forcefully, one of the few sailors among us whispered, We’re on the ocean now. After hours wind- ing through river, estuary, and canal, we had departed our motherland.

The navigator opened the hatch and called us onto the deck of our ark, which the uncaring world denigrated as merely a boat. By the lopsided smile of the crescent moon, we saw ourselves alone on the surface of this watery world. For a moment we were giddy with delight, until the rippling ocean made us giddy in another way. All over the deck, and all over one another, we turned ourselves inside out, and even after nothing remained we continued to heave and gasp, wretched in our retching. In this manner we passed our first night on the sea, shivering with the ocean breezes.

Dawn broke, and in every direction we saw only the infinitely receding horizon. The day was hot, with no shade and no respite, with nothing to eat but a mouthful and nothing to drink but a spoonful, the length of our journey unknown and our rations limited. But even eating so little, we still left our human traces all over the deck and in the hold, and were by evening awash in our own filth. When we spotted a ship near the horizon at twilight, we screamed ourselves hoarse. But the ship kept its distance. On the third day, we came across a freighter breaking through the vast desert of the sea, a dromedary with its bridge rising over its stern, sailors on deck. We screamed, waved, jumped up and down. But the freighter sailed on, touching us only with its wake. On the fourth and fifth days, two more cargo ships appeared, each closer than the one before, each under a different flag. The sailors pointed at us, but no matter how much we begged, pleaded, and held up our children, the ships neither swerved nor slowed.

Excerpt from The Committed
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Language Is a Living Substance: An Interview with Abdelmajid Haouasse

Abdelmajid Haouasse’s transportive short story “A Hot Day” is a highlight of Issue 21‘s portfolio of fiction from Morocco. An award-winning scenographer, director, cinematographer, and author of short fiction, Haouasse is interviewed by The Common interns Sofia Belimova, Olive Amdur, Adaku Nwokiwu, and Eliza Brewer, with the assistance of Nashwa Gowanlock, who translated the interview as well as the original story. Here, Haouasse discusses his story’s unique narration, the translation process, and drawing inspiration from the Moroccan city of Asilah. This is the second of two interviews conducted by the summer interns with Issue 21 contributors; the first is with Latifa Baqa.

Language Is a Living Substance: An Interview with Abdelmajid Haouasse
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Blood Feast: Translating the Troubled Life and Troubling Work of Malika Moustadraf

By ALICE GUTHRIE


This essay is an introduction and translator’s note excerpted from
From Blood Feast: The Complete Stories of Malika Moustadrafout now from the Feminist Press.

 
Malika Moustadraf (1969–2006) lived, worked, and died in the major port city of Casablanca, on the Atlantic west coast of Morocco. She published just one novel, a single short story collection, one other short story, and a few articles during her short life. After her death, three more short stories were published in a literary magazine. The short story collection and the four subsequent stories are what make up Blood Feast, the first ever full-length translation of her work. This slim volume is but a snapshot of a gifted maverick writer in her ascendancy, creatively going from strength to strength even as her health deteriorated during the final weeks before her death. Had her life not been tragically cut short, Moustadraf would undoubtedly have gone on to reach great artistic heights. In 2022 she would have been just fifty-three, eight years older than me. I would have certainly visited her in Casablanca over these last six years since I’ve been reading and translating her work, and would have gotten to know her. We would have spent time hanging out in her favorite café, working through the innumerable fascinating linguistic and cultural questions any serious literary translation project generates. Perhaps we would have enjoyed ranting to each other about the patriarchy, exchanging music, making each other laugh? And surely, by now, she would have become more widely respected and less persecuted for her feminist activist sensibility than she was at the turn of the millennium. But she did die in 2006, and so this modest oeuvre is all we have—the culmination of her life’s work, all but lost to the world over the last fifteen years since her untimely death.

Blood Feast: Translating the Troubled Life and Troubling Work of Malika Moustadraf
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Friday Reads: February 2022

Curated by ELLY HONG

This round of Friday Reads features recommendations from three of our online contributors: Carolyn Oliver, author of “Magic Mile;” Rajosik Mitra, author of “Cockroach;” and Jennifer Shyue, translator of “The Eclipse” and author of “Mother’s Tongue.” Their recommendations include two stunning poetry collections and a graphic novel classic.

Recommendations: Pigeon by Karen Solie, The Sandman by Neil Gaiman, and The Science of Departures by Adalber Salas Hernández, translated by Robin Myers

Friday Reads: February 2022
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Friday Reads: January 2022

Curated by ELLY HONG

This round of Friday Reads features recommendations from two of our online contributors: Jane McCafferty, author of “These Winters in Pittsburgh are Making Us Strong,” and Emma Ferguson, translator of poetry by Esther Ramón. The memoirs they recommend provide a window into the lives of two dynamic and extraordinary women.

Recommendations: I AM I AM I AM: Seventeen Brushes with Death by Maggie O’Farrell and What You Have Heard Is True by Carolyn Forché

Friday Reads: January 2022
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Cheo

By XAVIER NAVARRO AQUINO

Cover of Velorio by Xavier Navarro Aquino, which shows a red stripe of paint next to a drawing of palm trees blowing in the wind

I knew Vega Baja like the hairs on my feet. I used to work part-time en Tortuguero BBQ before landing in Florencia with the mongers. I walked and walked. It would be days until I reached Memoria, but I knew someone dear that still lived in Vega Baja, so I figured it fine to stop and visit my old friend.

Cheo
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How to Write on a Ledge: An Interview with John Murillo

NATHAN MCCLAIN interviews JOHN MURILLO

 

Headshot of John Murillo, a middle aged Black and Hispanic man with a long beard

 

In this interview, Nathan McClain’s mode of inquiry evokes substantial and insightful responses from John Murillo. The ultimate craftsman, Murillo understands the value of writing from a space, from a feeling, instead of toward a subject. In other words, he does not make an event of writing a poem. His practice is uncorrupted by a chase for validation. Instead, we understand the time and dedication necessary to achieve Murillo’s exquisite lyricism and masterful use of form.

John Murillo’s most recent book, Kontemporary Amerikan Poetry, won the Kingsley Tufts Poetry Award and was a finalist for the PEN/Voelcker Award for Poetry and the NAACP Image Award. He is an assistant professor of English and director of the creative writing program at Wesleyan University.

How to Write on a Ledge: An Interview with John Murillo
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