Posts Tagged: The Paris Review
Ever droll, Sadie Stein writes in the Paris Review about the reaction we’re (all) prone to have when people recommend literature based on our professed likes and dislikes:
When someone says I will like something, I tend to assume the something in question will be precious, tedious, and often aggressively eccentric.
Amy Hempel started writing fiction in her late twenties when she took a workshop with Gordon Lish at Columbia; she stayed in this workshop as a student for years. In an interview with The Paris Review, Hempel recalls her first class meeting with Lish: students were asked to write their worst secret....more
In 1963, a high-schooler named Bruce McAllister decided he would prove to his English teacher once and for all that the symbols she was asking students to find in books like The Scarlet Letter were not actually put there on purpose by authors....more
When she aims the pistol at the doorman, he grabs her wrist and snatches the gun, then she starts to scream, “Baby, what have I done?”
For The Paris Review, Aaron Gilbreath writes about jazz, heroin and love gone wrong....more
In honor of F. Scott Fitzgerald’s birthday a couple days ago, the Paris Review posted some audio clips of him reading passages from Keats and Shakespeare.
“While he may not recite like a trained Shakespearean, his reading is clear, emotive, and confident,” writes Sadie Stein....more
The Paris Review just celebrated its sixtieth birthday—and not a gray hair in sight!
But many game-changing, sterling-quality literary magazines didn’t make it to that ripe old(ish) age.
At Flavorwire, Jason Diamond rounds up some of the Paris Review‘s most promising peers and their untimely deaths....more
Memory forms, piece by piece. Some of them go missing, others interlock, firm. We fill in the missing pieces with what we imagine or just leave the gap, admit the blank. And sometimes, we imagine what might have been, would have been.
In 1993, an interview with Toni Morrison appeared in The Paris Review—and it feels just as relevant and immediate twenty years later.
Morrison covers vast ground: what makes a good editor, how white writers get black characters wrong (or right), the importance of teaching undergraduate students, and a million other marvelous things....more
Jason Diamond writes about how he came to a deeper understanding of Edith Wharton, her work, and the New York neighborhood where she grew up and which Diamond “once tried so hard to avoid.”
Wharton is one of the few great fiction writers whose work takes on a different meaning when you begin to understand her views on design.
She floated above my desk with a grave, almost murderous look, war paint on her cheeks, blonde braids framing her face, the braids a frolicsome countertone to her intensity. The paint on her cheeks, not frolicsome. The streaks of it, dripping down, were cold, white shards, as if her face were faceted in icicles.
When Lorin Stein took the helm at The Paris Review in April 2010, he was just the third editor in the magazine’s storied history....more
At The Paris Review, Rumpus contributor Jason Diamond wonders about F. Scott Fitzgerald’s repeated references to Lake Forest, Illinois, determining that the city’s significance derived from the fact that it was the hometown of Fitzgerald’s first love, Ginevra King, who informed the character of Daisy Buchanan in The Great Gatsby....more
“The main thing about something gruckimish is that gruck (the noun form) is always the unintended byproduct of the creator’s intention. Things that are supposed to be funny are rarely gruckimish. On the other hand, to call something gruckimish is never a value judgment: it is a simple statement of fact.”
At The Paris Review, Sadie Stein explains (and illustrates) gruckimish—a word that she and her best friend invented at age four and have employed ever since....more
Long before David Shields excoriated the strict boundaries between journalism and fiction, espousing, in its place, a loose and open-ended hybrid that is more in keeping with “reality”, a Swiss-born Frenchman with one arm, a Gauloises cigarette forever dangling from his grizzled lips and a swaggering nonchalance befitting only a soldier and a drifter, penned a series of “autobiographies” that blended history, memoir, fiction, poetry, gossip, news clippings and every kind of slipshod arcana into one boisterous melange....more
Maud Newton’s enthusiasm is always infectious — and a few days ago she celebrated in glowing terms the most recent issue of The Paris Review, the first with its new editor, Lorin Stein....more
This week in New York Bret Easton Ellis and Shane Jones read, Light Industry screens “arty porn,” the musical Bloody Bloody Andrew Jackson is in its final run at the Public Theater, The Fiery Furnaces and The New Bomb Turks perform, Behind the Scenes at The Paris Review releases its summer issue with a party, NYC Pride March, and Flavorpill hosts the largest yoga event ever on the Great Lawn at Central Park....more
“Whimsical, highly aestheticized, conspicuously casual, reverent of childhood and its signifiers, bound by the dialectic of irony and sincerity, the style of McSweeney’s has become the style of post-post-Modernism....more
Two hallowed New York intellectuals are The Rumpus’s next set of Literary Fashionables. Susan Sontag and George Plimpton both circled the upper tiers of Manhattan’s literary society. And while exhibiting seemingly opposing aesthetics, both Sontag and Plimpton promulgated revolutionary ideas and modes of approach to writing that would impact literary stylists for years to come....more