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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Photos by Erica Maclean. The boeuf en daube in To the Lighthouse, a 1927 novel by Virginia Woolf about an English family on vacation in the Hebrides, is one of the best-known dishes in literature. Obsessed over for many chapters by the protagonist, Mrs. Ramsay, and requiring many days of preparation, it is unveiled in a scene of crucial significance. This “savory confusion of brown and yellow meats,” in its huge pot, gives off an “exquisite scent of olives and oil and juice.” It serves as a monument to the joys of family life and a celebration of fleeting moments. Thus, it is with fear and trembling that I suggest that Woolf’s boeuf en daube, from a cook’s perspective, i…
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In the early stages of quarantine, a lot of people ordered War and Peace. I hesitated. I am not a doctor, or a delivery person, or a health care worker, I thought. I have no god’s-eye view on the real suffering taking place. In the end I reached for Jean Genet’s Our Lady of the Flowers, a lurid masturbation epic first drafted in prison on brown paper bags. Because while a lot of us, in these uncertain times, could use some Tolstoyan omniscience, even more of us could use some sex. Don’t be shy, don’t be ashamed! Reminder that when Shakespeare was quarantined, he definitely masturbated. As with romance and God, so has mankind been motivated to aesthetic heights by “traffi…
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Still from The Seventh Seal courtesy of the Criterion Collection. The film is available to stream, and as a disc set. We’re in a room on the ground floor of a hotel, the bed facing a wall of curtained windows that in turn faces the street. It is nighttime. Rain is coming down, steadily, reflectively, a stream of passersby visible through the curtains, which are sheer. Everyone is moving in the same direction, bent slightly forward and holding an umbrella, from left to right, the good direction, from past to future, the opposite of where Death leads the knight and the squire and the monk and the smith and the mute in their final dance against the backdrop of time in Ingma…
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Author photo of Daniel Galera © Suhrkamp Verlag. Daniel Galera was born in São Paulo, and spent a year and a half in Garopaba, the Brazilian seaside town that became the setting for his tense, violent, and funny 2012 novel Blood-Drenched Beard, which was published in the U.S. by Penguin Press in 2015. His other novels include The Shape of Bones (2017) and Twenty After Midnight (2020). He has translated works by John Cheever, David Foster Wallace, and Zadie Smith into Portuguese, and his latest book, The God of Ferns, published in the Portuguese by Companhia das Letras, is a collection of three novellas. Earlier this year, we read the title story, translated by Julia Sanc…
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David Wojnarowicz, Oct. 22nd postcard, from the Jean Pierre Delage Archive of Letters, Postcards and Ephemera, 1979–1991. Courtesy of the Estate of David Wojnarowicz and P·P·O·W, New York. David Wojnarowicz’s final home was on the corner of Second Avenue and Twelfth Street on the Lower East Side. He moved in after the prior tenant, his mentor and former lover Peter Hujar, died of AIDS. A few months later, in 1988, David was diagnosed with AIDS himself; he’d die in the Second Avenue apartment four years later at the age of thirty-seven. Every time I visit the corner across from his apartment, I picture David walking out the door on a cold morning. The puff of his breat…
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In Off Menu, Edward White serves up lesser-told stories of chefs cooking in interesting times. Alma Reville with a wax figure of Alfred Hitchcock’s head, 1974. © Philippe Halsman/Magnum Photos. Within the shifted reality of an Alfred Hitchcock movie there is no steady fact of existence that cannot be undermined. The ambiguity extends even to food and drink. In Notorious, Ingrid Bergman’s heroine is poisoned in her own home by a cup of coffee, while homebodies in The Man Who Knew Too Much feel discomfort in foreign lands because of the exotic food they are fed. In mid-twentieth-century America, nothing could be more wholesome and nourishing than a glass of milk—except wh…
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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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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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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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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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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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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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Photo: © isman rohimly ibrahim/EyeEm / Adobe Stock. I first read the Uruguayan writer Juan Carlos Onetti in December 2007, when I spent three weeks in the hospital due to an appendectomy gone wrong. Between doses of antibiotics, I asked my father to bring me a book that had just been published, of Onetti’s complete short stories. Before long, I came to one entitled “Convalescence,” which seemed appropriate given my situation. A woman is recovering from an illness in a hotel by the sea. Onetti doesn’t tell us what the illness is. A man keeps calling her on the phone, making threats, insisting she return to the city. I knew it might not be the best idea to read Onetti whil…
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Benjamin Shaw, Aberdeen Quayside, 2003, CC BY-SA 4.0, via Wikimedia Commons. The man I was meeting worked on the Brent Field. He was a kind of Typhoid Mary, having worked on the site of several accidents, always escaping unscathed. He was staying in a large, anonymous hotel behind Holburn Junction. The lobby was a columnar space several floors high. Its windows were covered in a kind of mesh, which muted the daylight and cast everything in a cool, neutral gloom. I took a booth, upholstered the same indeterminate shade, and waited for him to appear. There was some splashy abstract art on the walls, and a long, curved reception desk at the back of the room. People were mov…
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learza (Alex North) from Australia, Aibos at RoboCop, 2005, CC BY-SA 2.0, via Wikimedia Commons. When my husband arrived home, he stared at the dog for a long time, then pronounced it “creepy.” At first I took this to mean uncanny, something so close to reality it disturbs our most basic ontological assumptions. But it soon became clear he saw the dog as an interloper. I demonstrated all the tricks I had taught Aibo, determined to impress him. By that point the dog could roll over, shake, and dance. “What is that red light in his nose?” he said. “Is that a camera?” Unlike me, my husband is a dog lover. Before we met, he owned a rescue dog who had been abused by its for…
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Detail from Sleep (2020–2021), 2021. Taryn Simon. When we take pictures of our children, do we really know what we are doing, or why? The contemporary parent records their child’s image with great frequency, often to the maximum degree afforded by technology. Inasmuch as the baby or child is an extension or externalization of the parent’s own self, these images might be seen as attempts to equate the production of a child with an artistic act. The task of the artist is to externalize his or her own self, to re-create that self in object form. A parent, presented with the object of the baby, might mistake the baby for an authored work. Equally, he or she might find their …
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Billy Sullivan’s studio. Photograph by Lauren Kane. Billy Sullivan’s studio, a fifth-floor walk-up on the Bowery, has a comfortable, elegant dishevelment. Hanging all around the space are some of the brightly colored figurative paintings he has been making since the seventies: portraits of his friends, lovers, and other long-term muses, rendered in loose, dynamic brushstrokes and from close, pointedly subjective angles. A still life of a bouquet and two coffee cups is an outlier among the faces. Near a work in progress on the wall is a table with a color-coded array of pastels, each wrapped in its paper label (mostly the artisan Diane Townsend, with a few older sticks fr…
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Donnetta Lavinia Grays. Photo: Beowulf Sheehan. Donnetta Lavinia Grays is a Brooklyn-based playwright who proudly hails from Columbia, SC. Her plays include Where We Stand, Warriors Don’t Cry, Last Night and the Night Before, Laid to Rest, The Review of How to Eat Your Opposition, The New Normal, and The Cowboy is Dying. Donnetta is a Lucille Lortel, Drama League, and AUDELCO Award Nominee. She is the recipient of the Helen Merrill Playwright Award, National Theater Conference Barrie and Bernice Stavis Playwright Award, the Lilly Award, Todd McNerney National Playwriting Award, and is the inaugural recipient of the Doric Wilson Independent Playwright Award. She is curren…
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Still from accompanying video (below), edited by Miles Lagoze and Eric Schuman. A few weeks before our unit’s operation started, Lance Corporal Loya and I stood over a wadi, waiting for each other to throw our cameras down into its dusty, hollow trench. Wadis—the streams or natural ravines that farmers in the region often used as irrigation canals—were our generation’s rice paddies; they were everywhere in Helmand Province. When they weren’t wet, it was comforting to climb inside them—womblike slits in the ground to curl up in and shoot out of. They were the last thing some of us would see before dying. Like feudal tendrils etched across the fields, the wadis in the Sang…
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The following photographs are taken from the archives of Lester Sloan, who was a photojournalist for Newsweek, where he documented the 1967 uprising in Detroit, the fall of the Berlin Wall, the kidnapping of Patty Hearst, and the O. J. Simpson trial, from the late sixties until the mid-nineties. The captions are transcribed conversations between Lester and his daughter, the writer Aisha Sabatini Sloan. They have been edited for concision. They are offered here in the spirit of an eavesdropped conversation. While this is a work of nonfiction, the stories relayed here are recollections, prone to the vicissitudes of memory over time. Aisha’s questions and prompts to her fath…
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Leonora Carrington. Photo: Emerico “Chiki” Weisz. Courtesy of New York Review Books. The first time I read Leonora Carrington’s The Hearing Trumpet, I knew nothing about its author, so I had the incredible experience of coming to this short novel in a state of innocence. I was wholly unaware, for instance, that Carrington had been a painter, that she spent most of her life as an expat in Mexico, and that in her youth she had been in a relationship with Max Ernst, one of the greatest surrealists. But the anarchic tone and perverse nature of this little book made a powerful impression, one that has never left me. There are two qualities in fiction that I find particularly…
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Edvard Munch, Vampire or Love and Pain, 1895, oil on canvas. Public domain, via Wikimedia Commons. When we first met, I was a child, and she had been dead for centuries. Look: I am eleven, a girl who is terrible at sums and at sports, a girl given to staring out windows, a girl whose only real gift lies in daydreaming. The teacher snaps my name, startling me back to the flimsy prefab. Her voice makes it a fine day in 1773, and sets English soldiers crouching in ambush. I add ditchwater to drench their knees. Their muskets point toward a young man who is tumbling from his saddle now, in slow, slow motion. A woman rides in to kneel over him, her voice rising in an antique…
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In an undated note bequeathed to the Tate Archive in 1992, Eileen Agar (1899–1991) writes of her admiration for the author of Alice’s Adventures in Wonderland: “Lewis Carroll is a mysterious master of time and imagination, the Herald of Sur-Realism and freedom, a prophet of the Future and an uprooter of the Past, with a literary and visual sense of the Present.” The same could be said of Agar, whose long career as an artist spanned most of the twentieth century and intersected with some of the prevailing movements of the time, including Cubism and surrealism. Her timeless work—including the oil painting Alice with Lewis Carroll—will be on view through August 29 at the Whi…
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Fred Bchx from Tournai, Belgique, 2010, CC BY 2.0, via Wikimedia Commons. It is not incorrect to say that, for years, the way my family grieved my mother was to avoid acknowledging her altogether. It is not incorrect to say that we hardly invoked her name or told stories about her. Shortly after college, my father, Caroline, and Steph descended upon my cleared-out group house in Washington, D.C., for Thanksgiving. In my childhood home, my father’s stacks of clutter multiplied until they overtook the space that my mother had so carefully cultivated; it crowded my sisters and me out. I reacted efficiently, diligently, which is to say that I pretended that trips to Steph’s…
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Max © Reinbert Tabbert Biography is always a matter of joining holes together, like a net, for reasons that W. G. Sebald’s own work explores: the fallibility of memory, the death or disappearance of witnesses, the dubious role of the narrator. All these reasons must exercise any biographer. But Sebald’s biographer more than most. For the holes in the net of this story are many. The central absence is his family life, because his widow wishes to keep this private. Without her permission, his words from privately held sources, such as certain letters, cannot be quoted, only paraphrased. Even his published words, in books and interviews, can be quoted only within the limit…
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