The Common Among 2020 Literary Magazine Fund Recipients  

The magazine to be awarded $8,000 via Amazon Literary Partnership grant  

Amherst, MA, May 282020 – The Common, the award-winning literary journal based at Amherst College, is one of 13 2020 Literary Magazine Fund Grant Recipients, awarded in alliance with the Amazon Literary Partnership. Since 2017, funding from the Amazon Literary Partnership has helped further The Common’s mission of publishing and promoting emerging and diverse authors who deepen our individual and collective sense of place.   

 The Common Among 2020 Literary Magazine Fund Recipients  
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Review: Then the Fish Swallowed Him by Amir Ahmadi Arian

Book by AMIR AHMADI ARIAN

Reviewed by FEROZ RATHER

Review: Then the Fish Swallowed Him by Amir Ahmadi Arian

Amir Ahmadi Arians Then the Fish Swallowed Him is an unswerving portrayal of an individuals tormenting journey to self-realization in a totalitarian theocracy. By reproducing the minutiae of one mans stolen solitude, Arian has created a powerful critique not only of the Mullah-dominated politics of Iran, but also of the very nature of political life in this society. Arian, an Iranian novelist, translator, and journalist who currently lives in New York City, has in the past translated novels by E.L. Doctorow, Paul Aster, P.D. James, and Cormac McCarthy to Farsi, as well as written two novels and a book of nonfiction in his native language. Released in March of 2020 in the U.S., Then the Fish Swallowed Him is Arians debut novel in English.

The book begins amidst a raucous union strike near the Jannatabad Bus Terminal in the northwestern part of Tehran, when middle-aged bus driver Yunus Turabi watches Mahmoud Ahmadinejads plainclothes militiathe Basijis, a zealous bunch of young Revolutionary Armed Guardsviolently beat a woman. As the wife of an imprisoned activist is kicked in the ribs and flung on the ground, Yunuss fellow bus drivers scream and shout. During the ensuing clash with the police, who are shielding the Basijis, Yunus is jolted out of his humdrum existence and is spurred to action by his colleagues protests. But his punches, ecstatic and involuntary, are warded off with the blows of an electric baton. Numbed, he tears away from the crowd and hides on the roof of an empty bus.

Review: Then the Fish Swallowed Him by Amir Ahmadi Arian
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Jesmyn Ward on writing honest novels with good titles, inhabiting ghosts, and learning to love Faulkner

JENNIFER ACKER interviews JESMYN WARD

Image of Jesmyn Ward

On February 29, 2020, Jesmyn Ward visited Amherst College to headline LitFest and host a masterclass with students. The below interview is adapted from her public conversation with The Common’s Editor in Chief Jennifer Acker.

Jesmyn Ward reading the opening of Sing, Unburied, Sing.

[JA]: I think what comes through so clearly in that passage are all of the details of that property and all the norms of the community. So I want you to just tell us a little bit more about this place you’ve created, Bois Sauvage. Tell us what this place is like, and why it’s a fictional place, because it is very much inspired by your home.

[JW]: When I came up with the idea of creating a fictional town that’s based on my hometown, one of the reasons I wanted to do so was because I felt like the place where I’m from is so small that it would be harder to write about if I didn’t transform it. Sometimes I feel like the Bois Sauvage that I write about is this idealized version of my hometown, and not my hometown. Even though Sing, Unburied, Sing takes place in 2016-2017, I feel like Bois Sauvage is the idealized version of DeLisle, my hometown, from maybe in the 1980s when I was a child, when it was even more rural than it is now. Both DeLisle and Bois Sauvage are small rural places where community is very important, where families have been living for generations, because everyone knows everyone and everyone knows everyone’s history. I think part of what I’m trying to communicate or explore in Bois Sauvage is this idea of community and what community looks like in a place like that, and how a community can help its people survive in very specific, particular ways. I think I am also trying to convey the beauty of that area and that region.

Jesmyn Ward on writing honest novels with good titles, inhabiting ghosts, and learning to love Faulkner
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On Empathy & Time, Re: Wildness

By MELISSA MATTHEWSON

matthewson dispatch

Applegate, Oregon

I killed a turkey with my car while thinking about empathy and the Brewer’s Spruce. I hit it with such force the bird flew across the highway landing in the ditch with the thistle and grass. I killed a turkey and didn’t turn back, but the light from the passing afternoon was like honey, and with the traffic steady at four p.m. on the two-lane road and the storm having just moved east, I considered the death of the animal a possible inconvenience to my daily commute. A temporary delay. But no—that’s not what it made me feel. In fact, I’d wished I reversed my car—I did not feel indifference for killing and thought perhaps my duty was to bury the animal, collect the feathers from the highway and gully (strewn there like a child’s game of marbles or rice, flowers across graves, split metal framework, diamonds) and string them through my yard on lines and sticks, decorate the children’s fort, or at the very least, light a candle for its soul. Perhaps strip its body of organs and skin and keep it for dinner. But I didn’t do any of those things. I kept driving, alert to the lingering startle of both bumper and bird. How does a turkey die? What part of its body stops working first? The heart? Did it break its backbone, its sympathetic trunk? Had it only been out foraging for spring buds and last year’s acorns? And what had I been thinking of empathy? —of certain identification with the mountains, of home, of wishing for political forces to cultivate a sense of care for this place I live, a kind of fellowship maybe, something meaningful, close to love. I was sad about the turkey, and the government too, until upon arriving home, I forgot entirely of the bird and death and Republicans when my daughter met me in our driveway, “Hi, Mama!,” half embracing me with a toothy smile and a bowl of crackers in her small hand.

On Empathy & Time, Re: Wildness
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The Common Young Writers Program

The Common Young Writers Program is a two-week (Monday-Friday) online creative writing program for high school students (rising 9-12). Taught by the editors and editorial assistants of Amherst College’s literary magazine, the summer 2020 course will focus on the short story. Through writing exercises and contemporary reading assignments from The Common, we will introduce students to the building blocks of fiction (scene, character, plot, image) and guide them through the process of writing and revising their own short stories.

The Common Young Writers Program
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Kazakhstani Poet Aigerim Tazhi in Translation

Poems by AIGERIM TAZHI

Translated from the Russian by J. KATES

Image of book cover

Translator’s Note

For the most part, the Russian poets I have translated—however different in style and school—have been of my own generation and share many of my persuasions. How much more distant from me is Central Asia? Russian serves as a shaky bridge I cross with trepidation. But for the Kazakhstani poet Aigerim Tazhi, born in 1981 in Aktobe—formerly Aktyubinsk—Russian is solid ground underfoot. “I live in Kazakhstan,” she has said, “but I was born in the Soviet Union… I did not choose the Russian language, did not evaluate it… It’s just the language that I’ve spoken since childhood.”1

Kazakhstani Poet Aigerim Tazhi in Translation
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Malus

By PETER ARSCOTT

apple

This apple I have only just bitten into as I stand in the cool dank store room tastes of November, already old and fading, and my tongue, so often dulled by the anaesthetizing effect of regular wine drinking, red wine in fact, and never white which has always produced a low-level ache in what I assume is my liver and is thus to be avoided at all costs, my tongue, as I said, was ambushed by the apple’s unexpected weariness, yes, a tired and indecisive flavor that was perhaps on the turn, perhaps only a day away from being rotten, its wrinkled skin an obvious warning of what lay in wait as it pressed against the roof of my mouth.

Malus
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A Walk Inside the Epicenter

By MARIA TERRONE

Elmhurst Hospital in Queens, NY
Jackson Heights, Queens
           

By the time you read this, more of my neighbors will be dead.

And yet, on this sunny spring day that belies the grim headlines, I need to go for a walk, that most mundane of human activities. I need to pretend that life is normal. To forget that just a short distance from my apartment stands Elmhurst Hospital, the epicenter of the coronavirus within New York City, itself America’s epicenter.

A Walk Inside the Epicenter
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April 2020 Poetry Feature: Poems from John Freeman’s THE PARK

This month, we’re happy to bring you poems from JOHN FREEMAN’s forthcoming collection, The Park, out on May 5th from Copper Canyon Press.

 

Cover of John Freeman's "The Park," a black and white photo of park benches and trees

Table of Contents:

  • Easement
  • Ghost
  • Youth
  • Halfway
  • On Love
  • The Politician

 

John Freeman is the editor of Freeman’s, a literary annual, and author of the poetry collections Maps and The Park, as well as three books of nonfiction, Dictionary of the Undoing, The Tyranny of E-mail, and How to Read a Novelist. He has also edited three anthologies of writing on inequality, including Tales of Two Americas and Tales of Two Planets, a new book about global inequality and climate change, forthcoming from Penguin. The former editor of Granta, he lives in New York, where he is writer-in-residence at New York University. The executive editor at Lit Hub, he has published poems in Zyzzyva, The New Yorker, The Paris Review, and The Nation. His work has been translated into more than twenty languages.

April 2020 Poetry Feature: Poems from John Freeman’s THE PARK
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