When people speak of my city’s river, they say: declined. What they mean is: dry. Only modern cities can survive on the promise of water. Early people settled just east of the river, on the then-fertile floodplain that offered easy access to water, mud, fish, grasses, all the necessary components to forge a life in the desert. In the summer, I imagine cool breezes.
Tucson lies in a valley between four mountain ranges, so each range becomes a landmark. A trained eye can decipher a way through the desert using these mountains alone, though this eye will also see the lines of cottonwood trees, will find where water runs silently underground—the Santa Cruz River (translation: “Holy Cross”) long buried under a bed of pummeled stone, sand, bits of mica.
Stand in front of the window of your kitchen refuge and prepare the following ingredients:
A welcoming, empty green glass.
A bottle of cold, fresh milk.
An orange and brown tin of Cadbury’s Cocoa.
The two large tablespoons locked in an embrace in the drawer (possibly because of your awful dishwashing skills), which have triggered your loneliness. Use them as they are; do not expend any emotion separating them.
In the dark blue space between night and morning, Kendra is biking to work in Philadelphia when she sees a flatbed truck, carrying a single steel coil, fueling up at the all-night Sunoco station on Baltimore Avenue. The coil is a giant roll of duct tape, its silver layers wound so tight it looks solid, rising six feet tall, and secured with heavy chains. It sits exactly in the middle of the trailer, loaded eye-to-the-side, as if it could roll right down and off the flatbed. There are words, truckers’ words, for this particular way of hauling a coil, but Kendra can’t remember them. What she remembers is the weekend she rode through Tennessee in her father’s orange Freightliner Cascadia to deliver a coil just like this one. The memory is six years old, but she is always finding reasons for it.
At first, I did not recognize the Haiku Master standing in the porch light so late at night. Who was this old man, so tall and frail he might any second tip over, fall slowly, stiffly, lightly like a hollow tree?
I did recognize the white shirt the Master wore. A style of shirt you used to see worn by men in the Southwest, shirts of thin cotton, short-sleeved, pin-tucked up and down the front, two pockets, square-cut bottom. And then I remembered all the members of the Master’s haiku circle wore this shirt, a uniform of sorts. The same shirt I myself was wearing, one of my father’s. The day before, a month after my father’s funeral, I had left my husband behind and driven down from Denver to Cortez to clean out my father’s house—couldn’t put it off anymore. I found a bunch of these shirts in the back of his closet and put one on. The gesture a combination of nostalgia—the shirts reminded me of my father when he was younger—and the ruthless practicality required after a death. Good cleaning clothes, then good dust cloths, then I’d throw them out.
We can’t believe that we’re on the brink of publishing our FIFTEENTH Issue! If you couldn’t make it to our Launch Party, you can still mingle with our Issue 15 contributors in this month’s Friday Reads. When you’re done reading, be sure to purchase your copy of Issue 15 here!
Friday Reads is like a box of chocolates: there’s something for everyone, even the weirdos who read scripts! This month, sample an autobiographical novel, a collection of love poems, and a modernist play.
I’d been backpacking solo for twenty days in the mountains of Colorado, only a biography of Mozart for company, when my feet finally got the message up to my thumb that they were tired—so blistered, and achy, and sun-deprived and tired. My thumb, being a crafty little digit, waited until the trail crossed a road, then sprang into action with all the springiness a thumb can muster. One minute I was a resolved nature pilgrim, the next a common drifter hitching a ride to junk food.
What pulled up beside me almost instantaneouslywas not so much a Suburban as a rumbling patchwork of rust and mismatched panels. The tailpipe, or the little left of it, screamed a warning of danger, but its cries fell on my feet’s deaf ears. I stepped to the lowered window, thinking of ice cream and nothing besides ice cream.
Once again, The Common and Amherst College are honored to welcome a selection of visionary authors to our third annual LitFest–a weekend long series of events celebrating literary brilliance and nuanced expression. The talks, workshops, and panels will include, among other voices, 2017 National Book Award Finalists. This month, our staff and interns have chosen their reading in anticipation of our guests, and we present here our thoughts on just a few of these dazzling works. For more information on LitFest, please visit the Amherst College website.
This month, our Issue 14 contributors are reading works that examine the seams of time, from the construction of a fleeting impression, to the scaffolding of a historical drama. Whether it be a poem read from a pulpit or a paperback fished serendipitously from a pile of freebies, these recommendations celebrate literature’s ability to break through temporal boundaries.