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Lydia Davis Wins Booker Prize

May 22, 2013 | by

Lydia-Davis-Paris-Review

Credit Theo Cote

Hats off to our beloved contributor Lydia Davis, who was just awarded the Man Booker International Prize, Great Britain’s most prestigious prize for fiction. In the judges’ citation, Sir Christopher Ricks asked how best to describe Davis’s works: “Just how to categorise them? They have been called stories but could equally be miniatures, anecdotes, essays, jokes, parables, fables, texts, aphorisms or even apophthegms, prayers or simply observations.”

Click here to read some of Davis’s most recent fiction in The Paris Review—or click here to receive our next issue, with five of her newest stories (or miniatures, or anecdotes, or essays, or whatever you’d like to call them).

 

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The Paris Review Wins National Magazine Award

May 3, 2013 | by

Over the years The Paris Review has been nominated several times for a National Magazine Award, and even won a couple, but we never won the prize for General Excellence—until last night. The other finalists in our category included The New Republic and Mother Jones. We are very proud to be in their company—and can’t imagine how the poor judges reached their decision. We will take it as a vote of confidence in the poetry, fiction, and essays of today, and in the power of literature to hold its own, even in an election year.

We send our warmest thanks and congratulations to the writers and artists whose work is recognized by this high honor. You deserve it.

 

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Adieu White Street, Bonjour High Line

April 29, 2013 | by

 whitestreettableau

It’s the end of an era here at The Paris Review: after eight years in TriBeCa, today we’re packing up and heading north to our new Twenty-Seventh Street digs. While it’s bittersweet, we look forward to making new memories in Chelsea. And, yes, the birds are migrating with us. 

As of this afternoon, you can find us at 544 West 27th Street, New York, New York 10001. That’s past the High Line, across the street from the strip club, and next door to the Cuban restaurant. If you fall into the river, you’ve gone too far.

 

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A Bigger, Brighter Screen

April 17, 2013 | by

  Andy Warhol, Screen Test: Virginia Tusi, 1965, still from a silent black-and-white film in 16mm, 4 minutes at 16 frames per second.


Andy Warhol, Screen Test: Virginia Tusi, 1965, still from a silent black-and-white film in 16mm, 4 minutes at 16 frames per second.

Readers of The Paris Review will remember a portfolio and a novel excerpt by Rachel Kushner in our Winter issue. Now that book—The Flamethrowers—is out and earning raves (“It unfolds on a bigger, brighter screen than nearly any recent American novel I can remember,” says today’s New York Times). Click here to read our excerpt and here to see (and read about) the artworks that inspired the novel.

 

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Paris Review Nominated for Two National Magazine Awards

April 2, 2013 | by

standard-champagne-toast-wedding-chocolate-coins-0On the eve of celebrating our sixtieth birthday, The Paris Review is up for two National Magazine Awards: Fiction and General Excellence. Our fiction finalist is Sarah Frisch, whose story “Housebreaking” appeared in issue 203.

These nominations are the latest in a series of recent plaudits. Last month, we received seven nominations for the Pushcart Prize. We also had a story (“The Chair,” by David Means) chosen for The Best American Short Stories and an essay (“Human Snowball,” by Davy Rothbart) selected for the year’s Best Nonrequired Reading.

This week, New York magazine placed our new issue in the top quadrant of its famous, feared Approval Matrix, while Adam Sternbergh, blogging for the New York Times, called it “great … great … great.” He singles out “a great, long interview with Mark Leyner,” the Art of Fiction with “New York literary icon Deborah Eisenberg,” and “a great new poem from Frederick Seidel”; plus, “you’ll look great toting The Paris Review,” thanks, presumably, to our great cover.

 

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Cover Art

March 5, 2013 | by

204coverWhat follows is the Editor’s Note from issue 204.

For the cover of our sixtieth-anniversary issue, we asked the French artist JR to make a giant poster of George Plimpton’s face and paste it up on a wall in Paris, as a symbolic homecoming and a tribute to the patrie. Posters are what JR does. In Vevey, Switzerland, he covered one entire side of a clock tower with Man Ray’s Femme aux cheveux longs. In Havana, Los Angeles, Shanghai, and Cartagena, Spain, he plastered headshots of elderly residents—headshots many stories tall—across the facades of old buildings. He called the project “The Wrinkles of the City.” We love these pictures. We love the way they honor the desire behind any portrait—to eternalize a particular face—and at the same time welcome the wear and tear of weather, smog, graffiti: of life as it passes by.

It’s been ten years since George died in his sleep, after half a century at the helm of the Review. “George,” we say, even those members of the staff who never met him. He looms large in our imaginations—as large as that image gazing across the rue Alexandre Dumas—because he invented the form of the Review and gave it his spirit. “What we are doing that’s new,” he explained in a letter to his parents, “is presenting a literary quarterly in which the emphasis is more on fiction than on criticism, the bane of present quarterlies. Also we are brightening up the issue with artwork.” This from a man who was about to publish Samuel Beckett! George’s magazine was blithely serious and seriously blithe. Read More »

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