The Paris Review - A Literary Wonderland
From one of the most classic literary journals of all time, famous for its author interviews (among other things), comes the PR feed. Grab your coffee and conjure your most literary mindset cause you're going to need it. Academics and shut-ins will wet their pants over this. Ya gotta love it!
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Last year, when my mother moved apartments, I came into possession of a largeish Prada box full of my childhood diaries. They go from 1981—I was four, and dictated the diary to my aunt—up to the nineties. I still haven’t read most of them. (I think it was a handbag, and not a small one, that originally came in that Prada box.) It is hard work to feel love for one’s childhood and adolescent self. Reading this entry, for example, I feel ashamed at my eleven-year-old self’s American imperialistic attitude towards my grandparents, who hadn’t heard of a planetarium before but “liked it very much.” It’s interesting that I then apparently felt I had to explain the concept of a p…
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Penumbra (2022), by Hannah Black and Juliana Huxtable. Press image courtesy of the artists and Centre d’Art Contemporain Genève. I frequently feel saddened and angry that animals—whom I love, sometimes feed, and never eat—mostly ignore or even run away from me. For this reason, I enjoyed Hannah Black and Juliana Huxtable’s animated film Penumbra, which stages a court case against a nonhuman defendant—“representing all animals or the animal as such”—that is on trial for crimes against human beings in contempt of human reason. The judge is an animal, the members of the jury are animals, too; from the beginning, power and numbers are on their side. There are two humans, but…
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Ellsworth Kelly, Having The Time Of My Life, 1998. Ellsworth Kelly Foundation, courtesy of Matthew Marks Gallery. 1 Several years ago, moving into an old but new-to-me apartment with bare white walls, I tacked a poster-size sheet of heavy paper above my desk. Over time, I began to randomly pin found photographs and scraps of stories and poems to this sheet—including a couple of reproductions of Ellsworth Kelly postcards, which I’d torn out of magazines. Every so often, my eyes would stray upward, and these flashes of color would slide into view. I had not thought of them again until very recently, when I heard of an exhibition curated from the four hundred postcards Kel…
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I don’t use a journal, just a small piece of clipboard material on which I place quartered (torn) sections of 8.5 x 11″ paper that I have folded in half. I generally keep several such fresh sheets with me, as well as others containing things I am working on—plans, schedules, tasks. Above, you see the board: I put a ridiculous drawing (by Bruegel) on one side. You also see a piece of paper, folded, as it would sit in my pocket. Then you see one such in-use, unfolded sheet: my accounting. This sheet tabulates various habits—you may guess what they are—that I am TO PERFORM or TO AVOID each day. This is a middling eleven days; I could have done better. Jesse Ball is the a…
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Peter Nadin’s exhibition, “The Distance from a Lemon to Murder,” is on view at Off Paradise until June 23. The painter Peter Nadin was born in 1954 near Liverpool, the son of a sea captain whose family roots stretch back centuries in northwest England. Nadin studied art at Newcastle University and moved to New York in 1976, a time of deep, consequential flux in the city’s art world, when the dominant movements of Minimalism and Conceptualism were giving way to new forms of experimentation, including a rebirth of interest in painting. Nadin plugged almost immediately into a downtown art scene that included young peers like Christopher D’Arcangelo, Daniel Buren, Louise Law…
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Giotto Di Bondone, “Mary Magdalene’s Voyage to Marseilles,” 1320s. LICENSED UNDER CC0 1.0. For a number of weeks one spring, I spent every afternoon at the Basilica di San Francesco d’Assisi. It was what we then thought was the tail end of a plague, and I had come to Italy to visit a friend who had lived for many years a few kilometers above Assisi, in an old schoolhouse. This turned out not to be the visit I had imagined, nor, I am sure, the one she had, and after a few weeks, I went to Rome. But before that, every afternoon, I drove down into town—I had rented a car—past the long flank of Monte Subasio, with its temperate oxen, parked on the escarpment before the gates…
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Photograph courtesy of Joyce Carol Oates. March 29, 2019 Berkeley/Summit Hospital (Oakland) It is not true that for all persons the essential question is: Shall I commit suicide? But it is true for the widow. The placating fantasy, that makes possible those countless hours of bedside vigil. The beloved husband is asleep, or, if awake, not so very aware of you as you would wish. You are forced to see, as in an ingenious torture, how, moment by moment, diminishing second by second, you are being erased from the beloved’s consciousness. When he looks at you without looking at you. For the widow there is one looming question: Should you outlive your husband? For Widow…
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Jim Campbell, Topographic Wave II. Photograph by April Gornik, courtesy of Sag Harbor Church. “Empire of Water,” on view until May 30 at The Church in Sag Harbor, New York, is well worth a wander out east. The exhibition, cocurated by the Church cofounder and artist Eric Fischl and the chief curator, Sara Cochran, features watery works from forty-two artists including Warhol, Ofili, Lichtenstein, Longo, and Kiefer, and an Aitken that delights. But the cake stealer is hiding in the back corner of the first floor: Topographic Wave II, by Jim Campbell. Tucked behind a partial gallery wall are 2,400 custom-built LEDs of various lengths mounted on a roughly four-by-six-inch b…
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From the afternoon of March 13 into the early hours of March 15, 2022— Journals are more a nervous habit for me than anything else. I tend to copy out passages of whatever I’m reading, less because that passage is particularly important and more as a way of taking a photograph of a time and place and line of thought. Starts with a quote from Jung’s The Undiscovered Self, which I was borrowing from my dear friend and (at the time) traveling companion in Mexico, Sara, a.k.a SR. This pair of thoughts is funny to me: // Is the point of company in partnership to escape the self or to deepen it // I think I’m disturbed by how happy I am // Then some analysis of a few l…
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Illustration by Na Kim. Saki’s Moment Saki once had sex with Jin the Actor, and she couldn’t be any prouder. She hasn’t told anybody yet, so maybe pride isn’t the right word for it. Still, wherever she is, whenever she starts thinking about that intimate moment and everything it means, she slips into ecstasy. She’s in ecstasy when she thinks about how it’s going to feel to share her moment, when she thinks about the day the rest of the world will finally know what happened—when her moment will become a full-fledged point of pride. She imagines standing in front of all the women burning for Jin, the women who fantasize about him. She clears her throat and comes out with …
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Francisco Anzola, Old Cairo Skyline, licensed under CC0 1.0. 1. 2010 The word for invoice is the same in Arabic and Italian: fattura. We learned this, my mother and I, on the outskirts of a cemetery in Naples, as we tried to navigate the final arrangements for the transfer of my father’s body. It was a beautiful day, sunny, the sky Riviera-blue, and somewhere in the periphery of my vision, focused on this undertaker in his ill-fitting suit, there was a family mourning their own newly dead. They were of this place. We were not. Helplessly, my mother struggled to make the man from the funeral home understand what she was asking for, until finally, exasperated, she blurte…
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Topkapi (1964) by Jules Dassin. Paris, 1954. Jules Dassin—blacklisted in Hollywood for his Communist affiliations—hadn’t worked on a film set in four years. He wandered the mist-shrouded city streets scouting locations for a film based on a crime novel titled Rififi. He hated the book, in part for its racism, but needed the job. The adaptation was to be shot on a $200,000 budget with an underpaid crew and no star power; in fact, Dassin himself would decide to play a central role. Dassin’s character, César, is eventually killed by Tony—a member of his own band of thieves—for naming names, in an allegorical comeuppance fantasy aimed at Dassin’s enemies in the entertainment…
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Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. Ned Rorem. Photograph from the Paris Review archives. Other people’s diaries, observes our web editor, Sophie Haigney, offer “distinct and potent pleasures, the rare, delightful, occasionally shocking intimacies of reading someone else’s private thoughts.” She’s describing “Diary, 1988,” an excerpt from Annie Ernaux’s journals that appears in our Spring issue, but the same can be said for Ned Rorem’s Art of t…
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Annie-B Parson’s journal, March 7, 2008. Annie-B Parson’s journal, March 21, 2008. For six months I was given an office, my first and only, at a center for ballet research. I think you act and move differently in new architectures, and I spent those months constructing what an office meant to my day, to my body, to my work. It seemed to me that if I had my own office with a closed door and a desk, I should do solo time-based seated activities in silence. So, in the morning I would write a to-do list, distilling the day into a structural event in three parts. Then, I would do daily drawings inspired by a fragment from a tenth-century list of clothing and objects tha…
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The first paperback edition of Advancing Paul Newman, signed and dedicated by the author to Pauline Kael. Courtesy of Ken Lopez Books and Fine Manuscripts. I became aware of Advancing Paul Newman, Eleanor Bergstein’s 1973 debut novel, through Anatole Broyard’s dismissive review, which I came across in some undirected archival wandering. His grating condescension spurred me to read the novel—one of the best minor rebellions I’ve ever undertaken. (Bergstein is best known for writing the movie Dirty Dancing.) “This is the story of two girls, each of whom suspected the other of a more passionate connection with life,” she writes of the protagonists, best friends Kitsy and Il…
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A.R.C. Brown, Annie Brown Caldwell, and Edward Brown. Photograph by Eliza Grace Martin. On the evening of Friday, April 22, the staff of the Review tidied our desks, tucked away our notebooks and computers, ordered pizza, and welcomed the nine members of the band known as the Staples Jr. Singers to our Chelsea office for a very special performance. The band’s music was introduced to us by our friends at Luaka Bop, who are today rereleasing the Staples Jr. Singers’ 1975 record, When Do We Get Paid. The Staples Jr. Singers (who named themselves after Mavis Staples) formed in 1969, when the original band members—A.R.C. Brown, Annie Brown Caldwell, and Edward Brown—were st…
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In our Spring issue, we published selections from Annie Ernaux’s 1988 diaries, which chronicle the affair that served as the basis for her memoir Simple Passion. To mark the occasion, the Review has begun asking writers and artists for pages from their diaries, along with brief postscripts. Dear Levin, No one wants to hear about your parrot. Even your dreams are more interesting. Even the word you stammer in search of to get across the precise nature of the pain in your stomach. No one wants to hear about your novel-in-progress, either, not unless you can tell them you finished it, you sold it, or how much you sold it for. And yet they ask. About your novel-in-prog…
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Artwork by Hermann Hesse. Photograph by Martin Hesse Erben. Courtesy of Volker Michels. Everywhere we’ve lived takes on a certain shape in our memory only some time after we leave it. Then it becomes a picture that will remain unchanged. As long as we’re there, with the whole place before our eyes, we see the accidental and the essential emphasized almost equally; only later are secondary matters snuffed out, our memory preserving only what’s worth preserving. If that weren’t true, how could we look back over even a year of our life without vertigo and terror! Many things make up the picture a place leaves behind for us—waters, rocks, roofs, squares—but for me, it is …
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Imogen Binnie at Camp Trans in 2008. Photo courtesy of the author. Almost ten years ago, I published a novel called Nevada with a small press called Topside that doesn’t exist anymore. You may or may not have heard of it, but if there are trans people in your life who are readers, they probably have. It became a subcultural Thing. It’s been out of print for a few years, but in June, Farrar, Straus and Giroux will bring it back into print. People have called Nevada “ground zero for modern trans literature,” and while I get that—before it was published, I don’t think I’d read a novel with a trans character who I didn’t at least sort of hate—I don’t really feel like a geni…
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Annie Ernaux. Photo by Catherine Hélie. Courtesy of Éditions Gallimard. While reading Annie Ernaux’s Simple Passion, I often caught myself mistaking it for a diary. The memoir details an illicit affair in prose that feels startlingly immediate, full of particulars that seem to surface in real time: a skirt in a Benetton shop; a list of fortune-tellers in the telephone book; the faded lettering of a plaque that reads PASSAGE CARDINET, near where the author sought a clandestine abortion years before. Yet I was continually made aware that time had passed, and this was last year’s love seen through this year’s eyes: “From September last year,” Ernaux writes, near the beginni…
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Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. DON DELILLO, CA. 2011. PHOTOGRAPH BY THOUSANDROBOTS. “Barneys was more than a department store,” issue no. 239 contributor Adrienne Raphel reminisces in a new essay on the Daily. “A glowing spiral staircase, white as milk, wound its way through the store—the Guggenheim, but make it fashion.” This week, we’re unlocking an Art of Fiction interview with the bard of postwar American consumerism, Don DeLillo, as w…
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Photograph by Caryl González. In our Spring issue, we published selections from Annie Ernaux’s 1988 diaries, which chronicle the affair that served as the basis for her memoir Simple Passion. To mark the occasion, the Review has begun asking writers and artists for pages from their diaries, along with brief postscripts. July 13, 2018 I was up all night and it’s afternoon now. Maybe writing this will let me go to sleep. Sometimes it feels as if I’ve been awake for six months. Longer? In Cyprus I felt like I never slept. Even when I did my body felt impatient, braced, alert, waiting for the knock of the cat’s paws on the bedroom door at 5 A.M. I would be out of bed befor…
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Jacqueline Humphries, omega:), 2022 (detail). Courtesy of the artist and Greene Naftali, New York. Photograph by Ron Amstutz. My mother is a Renaissance historian who specializes in Venice and paintings of breastfeeding; her books and articles have subtitles like “Queer Lactations in Early Modern Visual Culture” and “Squeezing, Squirting, Spilling Milk.” I have an early memory of her taking me to a Venetian church to see Tintoretto’s Presentation of the Virgin, a depiction of a three-year-old Mary being brought before the priest at the Temple of Jerusalem. The child Mary is shockingly small. Dwarfed by a stone obelisk carved with faint hieroglyphs, she ascends a set of h…
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Will Arbery. Photo by Zack DeZon. Will Arbery’s Heroes of the Fourth Turning, which opened at Playwrights Horizons in 2019, continued to work on me long after I’d emerged from the theatre into the megawatted midtown Manhattan night. The play’s world—much like the white, rightwing, Catholic, intellectual milieu of Arbery’s upbringing in Bush-era Dallas—wasn’t something I’d seen onstage before. We meet Arbery’s cast of five characters seven years out from an education of Plato and archery at an ultra-strict religious college. They hunger for passion, touch, reason, the pain and vitality of others, and for one another. They are characters to be reckoned with, if kept at a …
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SPP Installation at Barneys, 2017. LICENSED UNDER CC0 1.0. FLOOR LL In 1923, Barney Pressman pawned his wife’s engagement ring for five hundred dollars and opened a five-hundred-square-foot clothing store on West Seventeenth Street and Seventh Avenue, in downtown Manhattan, where he sold well-tailored menswear at steep discounts. He hung a sign over the doorway: no bunk, no junk, no imitations. Abandon hope, all ye who enter here. By the time Barney retired, in 1975, the store was doing $35 million per year in business. Barney’s son, Fred, added women’s wear, expanding the store into a row of town houses across the street. Under Fred’s leadership, Barney’s adopted a co…
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