(Amherst, MA—September 15, 2023)—The Common, Amherst College’s award-winning, international literary magazine, announces the addition of two new members to its Board of Directors: Meredith Dodd and Emilie Eliason ’99.
An excerpt from Radio Big Mouth.
Juanelo, Cuba, November 1967
In our barrio, any kid worth her café con leche knew what the rumble of a motorcycle meant. Another family was about to disappear.
Until that night, I ran fast and free over Juanelo’s crumbling streets, hunting crinkly brown lizards in the dusty yards, gossiping with the omnipresent abuelas. The old women took care of us while our parents worked at places like the school on the corner or the canning factory down by the river. Four generations of my family lived all around me. No one shut her windows or doors. Everybody knew everything about everyone.
An excerpt from Unexploded Ordnance.
Sometimes red currants at the farmer’s market glow like dashboard warning lights, the sugar in my shopping basket drags on my arm like lead, and sweetness, beauty, danger taste the same. Sometimes my eyes project the letters from a sign outside the Licht- und Luftbad in Essen, Germany, onto the walls of a new world. Sometimes my retina and taste buds feel like my grandmother’s rather than my own. I cannot tell the currant story in third person, because, though she lived and told it, it is mine.
~
The woman stops in mid-greeting, mid-step; I nearly bash her knees with the picnic basket swinging from my hand.
“What’s wrong?” I ask, balancing the basket on my forearm to rummage through blanket, coffee flask, fork, spoon, making sure the bag of sugar is still wedged upright, between the currants and the white enamel bowl. She doesn’t answer, doesn’t move. I look up from the basket, then farther up at her face. She gazes past me; I turn to trace the line of her fixed stare. The entrance lodge to the Licht- und Luftbad looks the same as always: red geraniums, peeling paint, tack-bitten wood around the ticket booth window cluttered with signs—women this way, men that way, admissions prices, rules and regulations, opening times. Even the porter is the same.
Migration is an increasingly common feature of modern life. Whether for personal or for political or environmental reasons, when people cross the many thresholds of our world—traversing landscapes, languages, traditions, and border lines—they do so often at great personal risk. Those who make this transformative passage reckon with the isolation of displacement as well as with the meaning and value of “belonging” on unfamiliar soil. Their stories are the connective tissue of a global society, speaking directly to our present and our future.
Since its inauguration in 2015, the Restless Books Prize for New Immigrant Writing supports the voices of writers whose work brings fresh urgency to crossing cultural and linguistic divides, questions the sense of self in an increasingly interdependent world, and lends a voice to what it means to leave one home for another and why these stories need to be told. The winner will receive $10,000 and publication with Restless Books. This year’s judges, Grace Talusan, Jiaming Tang, and Ilan Stavans, have selected the following four finalists.
How to be UnMothered by Camille U. Adams
Can abandonment be good luck if a mother turns out to be even worse? Narrated in poetic prose and the rhythmic patois of Trinidad and Tobago, How to be UnMothered reflects upon the multifaceted cruelties of a mother who subjects her daughters to neglect. It journeys from the aquamarine seas and lush greenery of Trinidad and Grenada to England, Canada, and New York City. It explores Caribbean history from pre-colonialism to the present, and questions what the author sees as the chokehold of African spirituality. Finally, it affirms the role of choice in determining multi-generational legacy.
Unexploded Ordnance by Catharina Coenen
A collection of essays that interrogates what it means to come from a place where horror originates, and how terror can shape lives across generations, sometimes through our very DNA. Coenen, a doctor of biology, grew up in Germany and immigrated to the United States as an adult. Her mother, who had been five at the end of WWII, never talked about sheltering in basements while bombs shook the walls, fleeing burnt-out cities stuffed in the baggage net of overcrowded trains, or hiding her own mother under her sister’s crib during the mass rapes committed by invading French soldiers. When Coenen falls in love with a woman, she begins to disentangle her twenty-year marriage to a man, and the wartime anecdotes her grandmother shared throughout her childhood reappear like small grenades. With time, she comes to understand how historical threats to anyone labeled as “different”—Jewish people, disabled people, gay people, political dissidents—still bend her life, just as those threats persist across borders today.
Radio Big Mouth by Ana Hebra Flaster
Ana Hebra Flaster was five years old when her family fled post-revolutionary Cuba. They landed in a New Hampshire mill town, but she grew up Cuban-style, in a bright yellow duplex full of viejos—cousins, dogs, canaries. The women in her family worked hard to keep their Cuban identity alive, and they created a new family story: they’d won. They’d beaten Castro and Communism. Flaster believed those stories. But when her own daughter turned five, a deep depression appeared. What deep trauma had lodged itself in her when her family was uprooted from Cuba? For many refugees, she writes, refugee-dom never ends, even when you’ve scrubbed your accent and learned to like food that tastes like it was washed first. This book is a love letter to that story.
A Broken Russia Inside Me by A. Molotkov
Do we shape circumstances or are we shaped by them? A Broken Russia Inside Me is the story of a writer born into a totalitarian world and a tale of forging an identity outside what was given. At the age of twenty-two, Molotkov makes the decision to emigrate and, with $343 in cash, build a new life in the United States while the Soviet Union collapses and Russia is claimed by increasingly ominous leaders. He investigates what it means to be from a place he’s ashamed of and seeks to eradicate from within himself while also exploring how his choices and relationships still influence his attitudes and social responsibilities.
An excerpt from How to Be UnMothered: A Trini Memoir.
Come now. Peer through the fancy blocks in the walls’ top. And watch. Three little girls in a semicircle. One perched on the edge of the couch. Not sitting back comfortable. Looking on at the tableau, troubled. That’s me.
Pan next to the other daughter sitting fold up in an armchair. Let your gaze rest there. See her caramel fingers fidgeting in her lap. See a smile flickering in and out of focus to reveal the gap where her permanent canine is still playing shy. That’s Ericka, who can’t seem to keep her lips stretched. Benign. In a smile. Nor can she keep the crease from her 10-year-old forehead. That practiced line. Ericka, who can’t seem to keep a fun expression. She’s overdone. And, doesn’t know now, in the third act, what is the Mummy-required emotion.
By A. MOLOTKOV
An excerpt from A Broken Russian Inside Me.
It’s New Year’s Eve 2019, the chief holiday for me, an irreligious relic of the dreaded Soviet system. I call my mother’s friend, Bronya. Since Mom’s death in 2004, I’ve stayed in touch. Bronya met Mom at school around the age of ten. No one else, living or dead, has known my mother for that long.
“Have you been going out to the philharmonic this year?” I ask her in Russian, our first language.
A former English teacher, Bronya is an opera buff with a vast collection, supplemented by several DVDs I sent from the United States. Still, she refuses to buy a computer to access operas online.
“No, I couldn’t. I’ve not been feeling too well this year.”
“I’m so sorry. What’s going on with you?”
It’s awkward to discuss health issues on the phone, especially with someone in her eighties. It grips me viscerally, the fact that Bronya and the rest of her generation are on the front row, preparing to be weeded out by time.
“I’m old.” Her tone is matter-of-fact.
“But what are the doctors saying?”
“I don’t need any doctors.” Sarcasm in her voice. “What can a doctor do?”
I hear my mother’s opinions in this statement, recall her death at sixty-nine.
Bronya sighs, as if reading my thoughts. “I remember your mom so often. So strange, how the whole life has passed.”
“It’s beginning to feel strange even to me.”
“You should come and visit.”
Invitations from folks in Russia break me each time.
“I’d love to, but I’m not sure when I’ll make it to Russia again.”
“Where are you now?”
The question stops me, squeezes air out of my lungs. We’ve been in touch ever since I visited her in St. Petersburg in 2011. She should know where I am.
The growing pause presses on my ears.
“I’m in America.”
“Very good. Well, if you’re ever in St. Petersburg, please visit. I’d love that.”
“I will.”
***
It’s July 4, 2020, a dubious holiday in the United States. This year is worse than most, with coronavirus cases rapidly growing and the Trump presidency deteriorating at the same rate. Protests against police brutality continue; hope and tragedy are in the air. Black lives matter, but what other obstacles will the conservatives place in the way of this self-evident statement? How many more innocent Black lives will be lost?
This also happens to be Bronya’s birthday. She is eighty-five, and I call her at the dacha, where she tends to spend her summer months.
“Aunt Bronya, Happy Birthday!” It’s nighttime here in Portland; it’s morning in St. Petersburg.
“Thank you.” Her voice is tired, like the last time, but something in me hopes that she will snap into her familiar self, full of operas and plays, books and opinions.
“How’s your health?” I ask.
“So-so. But I like it here at the dacha.”
“How are you doing with the pandemic?”
“Tola, what did you say? I can’t hear you very well.”
I repeat, but she can’t seem to parse the word or the alternatives I try: coronavirus, quarantine. I give up; it doesn’t sound as if she’s kept up with the medical scare.
“And your cats?” I try.
“They’re happy. Here they are, resting.” I imagine the two orange cats. “They like it here in the country. You should visit.”
“Thank you.” A tightness in my throat. “Not sure when I’ll be in Russia.”
“Where are you now?”
“I’m in America.”
The distance hangs self-evidently over the phone lines.
“Really? How long have you been there?”
“Almost thirty years.”
This duration sounds unreal, even to me. I check myself. In the gap of information between the two of us that is vaster than our geographical distance, am I really the one who has a hold on truth?
What truth?
“I didn’t know.” Surprise in her voice. “How’s your English?”
“Not bad. I’ve had some practice, you know.” Every word I say feels like cutting through stone, or my own flesh.
When I was seven, Bronya recommended my first English instructor, Marina Phillipovna. Dad had his lesson first, then it was my turn. Without a doubt, Bronya is complicit in my writing about her now.
“I can help.” A confident tone. “If you run into any problems with word use, or how to distinguish between one tense and another, I’d be happy to explain it to you. There are so many tenses in English.”
“I’ll keep that in mind.” I hold back the tears. “And how’s your dacha? It must be beautiful out there, in nature. Mom used to love it.”
I wait for her to react as she would in the past: by saying something about my mother. Not far from her dacha, Bronya took the photo that ended up on Mom’s cemetery wall here in Portland. I imagine the moment so many years back, so full of futures that are now over or ending. Maybe she doesn’t realize that the mother I’m referencing is her childhood friend, Valentina?
“You should come and visit,” she says instead.
“Sure, if I’m ever in Russia.”
How can I, given what Russia has become?
“Please call in advance, just to make sure. I might be at Mom and Dad’s. You’d have trouble getting ahold of me.”
Who am I, the caller? Will I call again? If I do, will I be an anonymous voice from a distance far too long to cross, the kind of distance that will take me the rest of my life to cover? Once we hang up, how long will she remember the conversation?
“Sure,” I say. “I’ll call in advance.”
***
It’s summer 2022. Every few weeks, I check up on my dad in Moscow, feeling like a suspicious element as I call that center of the world’s evil. But the phone lines still work, and my dad still hates Putin’s regime. I don’t bring it up, since in Russia, everything and anything might be monitored.
I’m fifty-four; my father, ninety-one.
“How’s your work?” I ask, in my typical manner.
Physics. He’s finishing a volume on the distribution of temperatures in the sun’s atmosphere. His other research areas over the years include tsunamis, failing nuclear reactors, intercontinental data cables, mathematical models for socioeconomics. He loves to grapple with complex phenomena still undescribed by mathematical equations. A few of his books are available in English; his article “An Analysis of Processes in the Solar Wind in a Thin Layer Adjacent to the Front of the Shock Wave” was published in a 2018 issue of The Astrophysical Journal.
“I can’t work anymore, Tola,” he says. “I can barely see. And my mind doesn’t always cooperate. It depends on my blood pressure and so many things. It takes too much effort to focus, to keep it all in my head.”
Everything in me sinks as I listen. It’s tempting to cheer him on, to suggest tools, but that would be condescending. He doesn’t need my advice. He knows when he’s done. I’d be lucky to have a creative life nearly as long.
***
Another year of the war has passed. Many people have died. It’s 2023.
“What’s on your mind today?” I ask my father.
“Tola, Tola, I can’t hear you. What did you say?”
I repeat my trivial question, but he still fails to hear. I can’t help but think of my conversations with Bronya.
“Tola, where are you right now?” Dad asks.
“Still in the United States.”
“I know that.” It hurts to listen to his attempts to cover up the growing areas of uncertainty in his mind. “But where?”
“Portland. Do you remember that song by Bulat Okudzhava, ‘When We Return to Portland’?”
Bulat Okudzhava, whose songs we sang when my parents’ friends gathered in the 1970s and eighties, had meant a different Portland. He probably didn’t give Oregon much thought. A poet, singer, and novelist whose father was executed in 1937 for Trotskyism and who fought against fascism in World War Two, Okudzhava would be devastated to know that in the twenty-first century, Russia has become a fascist state. The charges against his father, and later his mother, were fabricated, like any in the broad category of “enemy of the people” that equaled ten to twenty years in the Gulag, if not a death penalty. You didn’t have to be familiar with Trotsky or with his thoughts to be so accused.
“Tola, I can’t hear you. What are you saying?”
“How’s Slava?” Slava is his youngest son, twenty years my junior, who emigrated last year because of the war in Ukraine.
“He is no longer living, unfortunately.” A sad, somber voice. No, no. Is Dad thinking of someone else?
“Slava is fine. Your dad remembers his earlier life very well,” my father’s new wife explains when he and I are done talking. “He has clear days and confused days. Yesterday morning, he was trying to get me to take him to his lecture at Leningrad State.”
I recall listening to his lectures in my first year at the university. He was excellent. Eloquent, easy to follow.
How recent it seems. He quit that job when he moved to Moscow in 1990, the same year I left the USSR. I imagine how he must feel. Confused. Lost. The hearing problem must be an attempt to avoid revealing that he can’t answer. That he doesn’t remember.
I’m stuck in a painful inability to do anything more. I can’t visit. Not during Putin’s regime. And when Putin is gone, a black hole will remain. The dark gravity of lost conscience.
I can’t repair my dad’s mind. I grieve his gradually escaping self. I grieve a Russia that has lost its soul and will not regain it in time for either of us to see.
I grieve not being able to see him again, in this life.
A. Molotkov’s poetry collections are The Catalog of Broken Things, Application of Shadows, Synonyms for Silence, and Future Symptoms. His novel A Slight Curve is forthcoming from Run Wild Press; he co-edits The Inflectionist Review. Please visit him at AMolotkov.com.
Read more excerpts by the finalists for the Restless Books Prize for New Immigrant Writing.
Translated from the Arabic by LILY SADOWSKY
Piece appears below in both English and Arabic.
Translator’s Note
In “James Joyce” (1982), a stifled writer engages a hallucinatory Joyce in dialogue about writing, and in so doing, interrogates not only what—but also who—makes a great writer. Combining his trademark intertextuality with tense mixing and pronoun ambiguity, Zafzaf creates a haze of temporal unease. But however lost in time our writer is, he is distinctly aware of his place. Creative mastery is never simply a matter of skill but always also a question of positionality and circumstance. The freedom to be authentic or make new, to mean or will, is not equally free for all. Time is unstable; remembrance, unbalanced.
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(Amherst, Mass. August 4, 2023)— The Common, the award-winning, international literary journal based at Amherst College, has announced its fourth Literary Editorial Fellow: Olive Amdur ’23. The fellowship launched in 2020 with support from the Whiting Foundation and is sustained by the generosity of Amherst College alumni donors.
The Literary Editorial Fellowship (LEF) was introduced with three goals in mind: to strengthen the bridge between The Common’s existing Literary Publishing Internship (LPI) for undergraduates and the professional publishing world; to provide real-world experience for an Amherst graduate, transferable to a wide range of fields; and to increase the capacity of The Common’s publishing and programming operations.
The full-time, postgraduate fellow writes, edits, and proofreads prose and poetry; creates multimedia web features; writes and designs publicity materials; manages print and digital production; and develops, organizes and staffs innovative events on campus and across the country. The fellow also helps to mentor and train current interns.
By SERGIO ALTESOR LICANDRO
Translated from the Spanish by MARY HAWLEY
Translator’s note: Sergio Altesor Licandro’s 2016 novel TAXI (Estuary Editora, 2016) holds particular resonance this year, the fiftieth anniversary of the brutal military dictatorship in Uruguay, which held power from 1973 to 1985. The novel is structured as a series of journal entries recorded by the protagonist, Pedro Fontana, who in his youth—like the author—spent years in military prisons in Uruguay, as punishment for his opposition to the military dictatorship, before being exiled to Sweden. In Sweden, Fontana trained to become an artist, lived there for some years, and eventually left to search elsewhere for his destiny. Now, many years later, he has returned to Sweden for a conceptual art project, which is to drive a taxi in Stockholm and record his interactions with the passengers, as a way of analyzing life in Sweden at a time when the democratic-socialist ideals of the past have given way to a grim neoliberalism. In this excerpt, however, Pedro Fontana must instead analyze his own past.
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