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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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. In the seventies, Gary Indiana found himself swept up in the experimental film and theater scenes of West Germany and New York City. “When I performed I had—and this maybe had something to do with how much I drank—a quality of demonic abandon,” he recalls in his Art of Fiction interview in our Winter issue, in which he describes the influence of directors such as Rainer Werner Fassbinder and Werner Schroeter…
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Bud Smith’s “To Read and Reread” fridge list. Paris Review contributors—from across our print issues, our website, and our podcast—give us a peek into their reading habits. I still got that list of books on my fridge that I’m working through (one of the first pictures on my Twitter). Made it a few years ago. Classics and famous books I hadn’t read yet. When I finish one I circle it on the list and whenever I wonder what to read next and feel stumped, I just walk over to the fridge. This year I read The Brothers Karamazov, which just amazed me. It was hairy and funny and, as always with the books I love, not what I expected. Easily one of the best pieces of art added to …
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Illustration by Na Kim Self-Portrait 1 I cannot: cook pull off a hat entertain wear jewelry arrange flowers remember appointments send thank-you cards leave the right tip keep a man feign interest at parent-teacher conferences. I cannot stop: smoking drinking eating chocolate stealing umbrellas oversleeping forgetting to remember birthdays and to clean my nails. Telling people what they want to hear spilling secrets loving strange places and psychopaths. I can: be alone do the dishes read books form sentences listen and be happy without feeling guilty. Self-Portrait 5 I once stood and waited by BT-Centralen for someone wh…
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This past summer, I kept turning to a certain kind of prose: the diaries in Doris Lessing’s The Golden Notebook, the biomythography of Audre Lorde, Elias Canetti’s journals, the field notes of the British psychoanalyst Marion Milner. It seemed to promise me something, but what? The writing sometimes felt unpolished, as if the authors were allowing me to watch them work through a problem. It dealt with obsession, disappointment, depression. It wasn’t an obvious choice for the subway. I had just started editing The Paris Review, a literary quarterly with a formidable sixty-eight-year record of publishing the best writing, and of hosting glamorous parties. Every morning, in…
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Photo: Emily Stokes Rose Wylie, whose watercolor Two Red Cherries appears on the cover of the Review’s Winter issue, lives in a cottage in Kent, England, that smells of firewood. A treacherous, narrow staircase leads up to a small studio. (“Hold the rail!” Wylie warned me.) Her large, funny, vibrant figurative paintings—made on unprimed, unstretched canvas—cover the walls and floor. When I visited on a recent Saturday afternoon, as Storm Arwen brewed outside, she told me she had spent the first years of her life in India, where her father worked as an engineer. The family moved back to England during the Second World War. Wylie studied at an art school in Kent and then a…
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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. Cover art by Jonathan Borofsky. In our Winter 1981 issue, The Paris Review published an early story by Jamaica Kincaid. Titled “What I Have Been Doing Lately,” it follows the narrator’s recursive, dreamlike journey in search of home. (You can listen to her reading it on the inaugural season of The Paris Review Podcast.) The story was included in Kincaid’s 1983 debut collection, At the Bottom of the River, whi…
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Still from Mike Leigh’s Naked (1993) courtesy of the Criterion Collection. Years ago, I went to go and watch the Mike Leigh movie Another Year at a cinema in Bristol. It is a typical Mike Leigh film in that it is just about matchless in its emotional acuity, punctuated by shots where the camera lingers for about ten seconds more than is tolerable on the face of a character who has either had a shit life or is going to go on to have a shit life; it’s funny; it has an overall aesthetic atmosphere that makes you think of allotments even when an allotment never appears on screen; and it’s hellbent on presenting the most unglamorous vision of London that could possibly exist.…
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Jamaica Kincaid. Photo: Kenneth Noland. Save the date: on April 12, 2022, The Paris Review will present the Hadada, our annual lifetime achievement award, to Jamaica Kincaid at our Spring Revel. In our Winter 1981 issue (no. 82), the Review published a short story by Kincaid, then thirty-two, titled “What I Have Been Doing Lately.” The story follows the narrator’s recursive, dreamlike journey in search of home, and was later included in Kincaid’s debut collection, At the Bottom of the River (1983), which drew from her early life in Antigua and marked her as a singular voice in American letters. The book won the Morton Dauwen Zabel Award from the American Academy of Arts…
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