Issue 26

Jacinta Murrieta

By JULIO PUENTE GARCÍA
Translated by JENNIFER ACKER, with thanks to Luis Herrera Bohórquez


Para Violante, en sus primeros meses

I met Jacinta in the migrant camp where we grew up. I remember that it was the beginning of June, a few days into the start of the harvest. At that time, Jacinta had lived for nine springs—she was two years younger than me—and for obvious reasons she still used her given last name, López del Campo. Those of us who saw her timidly climb the stairs and enter the last shack, which served as our classroom, with her butterfly notebook pressed to her chest and her gaze glued to her sun-toasted legs, never imagined that in less than ten years she’d be proclaimed the artistic heir to Joaquín Murrieta, a figure shrouded in dust but fondly remembered within the Mexican communities settled in the central lands of California.

Jacinta Murrieta
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The Fields of 1936

By HELENA MARÍA VIRAMONTES

This piece is an excerpt from The Cemetery Boys, a novel in progress.

 

Sunday had arrived—Six days shalt thou labor, and do all thy work; but the seventh day is a Sabbath unto the Lord thy God—and brought with it a strong exhale that breezed over various labor camp sites of the San Joaquin Valley. Resourceful worshipers set up sanctified spaces and stretched borrowed tarps between sun-scorched oaks to contain the cool shade. The ground was covered in the white grime of harvest dust. The traveling priest presided in front of his truck’s flatbed, renovated to serve as an altar for Catholics, but for anyone, really, who had a righteous belief in divine intervention, joyous faith in a higher power.

The Fields of 1936
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Ballad for the One Who Never Went to Iowa

By JULIÁN DAVID BAÑUELOS

After Rafael Alberti 

I noticed the canas sprouting from her scalp, I noticed the sky,
I noticed the engines hum, I noticed my heartbeat, and the breeze.
Nunca fui a Iowa.

My mother tells me I gave her canas, and now I have my own.
Mi bisabuela worked los campos, says she was once Iowan 
Nunca vi Iowa.

Ballad for the One Who Never Went to Iowa
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Introducing the David Applefield ’78 Fellowship

By SAM SPRATFORD

Before I learned about his utopian philosophy of expat writing or his scrappy resistance to publishing-market forces, I knew David Applefield as the marketer of the HAPPY CAP—the world’s first mess-free way to cover a toothpaste tube. This was, of course, completely by chance. 

I was thumbing through his papers in the Amherst College archives as The Common’s inaugural holder of the David Applefield ’78 Fellowship, an Amherst College student internship endowed in Applefield’s honor by his friends and family. Tucked among sheets of poetry, reviews of Applefield’s two novels, and other literary artifacts, I was surprised to find a series of letters typed on the official stationery of “A.R.A. Industries.  

Introducing the David Applefield ’78 Fellowship
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Antiphon

By VIRGINIA KONCHAN

I cannot remember a time when I was not chosen last.
That and the great, timeless subjects: music, weather, war.
Wounds are openings through which presence shines through.
The child in the doll, Christ in the wafer, the ocean in a droplet.

Antiphon
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A Cowboy on Eighteen Wheels

By AIDEE GUZMAN

Cowboys aren’t remnants of the Wild West. Today they herd cattle across state lines, national borders, and now even oceans. From the feedlot to the slaughterhouse and from pasture to greener pasture, a cowboy’s travels feed the food industry machine.

Your modern cowboy sits on eighteen wheels with six hundred horsepower and saddles up truck stop to truck stop. They trot along the asphalt and follow the commands of reds, greens, and yellows.

A Cowboy on Eighteen Wheels
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Sonata

By VIRGINIA KONCHAN

 

This is a torn map of the forsaken world.
There are lines even wolves cannot cross.
Every voice an epitaph, then a little tune
from the neighbor’s garden apartment
suggesting a rondo, or circle of fifths.
Plato said the soul is a perfect circle.

Sonata
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