Posts Tagged: The Paris Review
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.
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