New Books Network

What does it mean for theory to be considered as a species of not just literature but world literature? Theory as World Literature (Bloomsbury, 2025), edited by Jeffrey De Leo, offers a wide range of accounts of how the “worlding” of literature both problematizes the national categorizing of theory (e.g., French theory), and brings new meanings and challenges to the coming together of theory and literature. In sum, it presents theory as world literature as a viable alternative to more commonplace approaches to theory.Under such an approach to theory, what it means to be an African, American, or Asian “theorist” – let alone a French, German, or Spanish one – in the new millennium is as complicated (or simple) as what means to be “African,” “American,” or “Asian.” “Worlded” literature is not considered here as only the world literature of nations and nationalities. Rather, it is also the worlded literature of individuals crossing borders, mixing stories, and speaking in dialect. So too is it the worlded literature of the multinational corporate publishing industry wherein success in the global market is a major determinate of aesthetic and literary value.Offering accounts of what it means to consider theory as world literature, the authors in this pioneering collection explore the ways in which we might regard theory as connected and reconnected through global literary networks of increasing complexity and precarity. By approaching theory from this perspective, Theory as World Literature demonstrates how and why theory is more worldly now than ever.
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In this NBN episode, host Hollay Ghadery interviews acclaimed poet
Laurie D. Graham about her new book of poetry, Calling it Back to Me
(McClelland & Stewart, 2026).

A poet’s clear-eyed witnessing of familial history, this is the most
personal collection yet from two-time Trillium Book Award finalist
Laurie D. Graham.

In these searching, spare, and resonant poems,
Laurie D. Graham traces the story of her great-grandmothers’ lives
before and after they left their homelands and settled on this
continent, striving to understand how she came to be here and writing
the act of colonization as it exists in her own family history. This
collection’s fractured lines, time-weathered yet alive with detail,
reflect a family’s knowledge broken by global immigration and memory
loss, both individual and collective. The result is a courageous
reckoning with the legacy of leaving home.

With tender curiosity and a determination to bear unflinching witness, Calling It Back to Me: Poems (Random House, 2026) asks: When language and memory are so tenuous, what is it that gets passed down between generations?

LAURIE D. GRAHAM grew up in Treaty 6 Territory, near
amiskwacîwâskahikan (Edmonton, Alberta), and she has lived in
Nogojiwanong/Peterborough, in the Territory of the Mississauga
Anishinaabeg, since 2018, where she is a poet, an editor, and the
publisher of Brick magazine, a journal of literary non-fiction based in Toronto. Her first book, Rove,
was shortlisted for the Gerald Lampert Memorial Award for the best
first book of poetry in Canada. Her second and third books, Settler Education and Fast Commute, were both nominated for Ontario’s Trillium Book Award for Poetry.
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Ro Skelton speaks to Emily Everett about her essay “Naow’s Boutique,” which appears in The Common’s fall issue. The essay explores Ro’s time living and working in Dakar, where she formed a friendship in her neighborhood that eventually led to a sense of community, and then a community garden, and then a lifelong friendship. Ro also discusses how the essay fits into her focus as a writer – writing about gardening in unconventional spaces – and her memoir-in-progress on the subject, Easement.

Ro Skelton is a writer and gardener from Scotland. She is currently working on her first book, Easement, a memoir about mental health, queer parenting, and radical acts of gardening. Her work has appeared in Four Way Review, Waxwing, New Ohio Review, and Ecotone. Previously a reporter in West Africa and a member of an ocean-going rescue crew, she now lives and gardens on the Isle of Mull.

­­Read the essay in The Common here.

Learn more about Ro and her work at here.

The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Instagram, Bluesky, and Facebook.

Emily Everett is managing editor of the magazine and host of the podcast. In 2025 her debut novel All That Life Can Afford was a Reese’s Book Club pick, and her work appeared in The New York Times Modern Love column. Previous publications include the Kenyon Review, Electric Literature, Tin House, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction.
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Commercial seafaring, both dangerous and with large amounts
of capital at stake, was the source of the risk-management institutions
that still undergird the global economy today. A key institution of
early modern risk management was General Average, a procedure used to
redistribute extraordinary costs arising from a maritime venture between
all financially interested parties. For example, should one merchant’s
cargo be jettisoned to lighten a ship in a storm, the loss would be
shared pro rata by the shipper and all the cargo-owners. A risk-sharing
practice, different from the risk-shifting of marine insurance which
became established relatively late, General Average is still in widespread use.

In Managing Maritime Risk in Early Modern Europe: General Average in Law and Practice in Seventeenth-Century Tuscany
(Boydell Press, 2025), Jake Dyble explores how General Average worked.
It reveals the gap between
General Average in law and how it worked on the ground. It shows how
General Average partitioned a wide array of business costs, thereby
performing a significant role in structuring maritime commerce, managing
risk and promoting shipping and trade. In addition, the book discusses
how far General Average was a feature of a supposedly ancient,
universal, customary maritime law, and contributes to debates about the
evolution of institutions in economic development.

Dr Jake Dyble is a postdoctoral researcher at the University of Padova, Italy.

This
interview is conducted by Dr Lewis Wade, a Humboldt Research Fellow at
the University of Bamberg. He is the author of the prize-winning Privilege, Economy and State in Old Regime France and can be found on Bluesky @wadehistory.bsky.social.
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Teaching Shakespeare's Theatre of the World (Cambridge University Press, 2025) engages with one of Shakespeare's greatest thought-experiments: How does one navigate the 'theatre of the world'?

It invites students to examine how Shakespeare challenges this
metaphor's vertical hierarchies in response to shifting understandings
of cosmological order.

Teachers will find rich contextual
frameworks for exploring how Shakespeare envisions 'worlds' as emerging
from dynamic variables, raising urgent questions about how identity and
justice are environmentally constructed.

Focal plays include A Midsummer Night's Dream, As You Like It, Hamlet, Henry V, The Merchant of Venice, and Othello.

Each discussion features student centered 'Explorations'.

These play-specific classroom activities can also be adapted across
Shakespeare's corpus and tailored for both secondary and
university-level students.

These exercises encourage
non-linear critical and creative thinking, inviting students to
contemplate big ideas and generate new perspectives about the shared
points of contact between Shakespeare's world and their own.
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