July 2, 2015 | by The Paris Review
You’ve probably heard about our joint subscription deal with the London Review of Books—this summer, you can get a year of both magazines for the low price of $70 U.S.
We’re also bringing back last summer’s #ReadEverywhere contest. From now through August 31, post a photo of yourself reading The Paris Review or the London Review of Books on Instagram, Twitter, Facebook, or Pinterest—use the #ReadEverywhere hashtag and one of our magazines’ handles. The grand prize is an Astrohaus Freewrite, the hotly anticipated smart typewriter that lets you write virtually anywhere.
Have a look at last year’s winners if you need inspiration—if the beekeepers, pelicans, elephants, and fireworks don’t convince you of the fierce competition, the modernist Swedish architecture assuredly will.
The contest kicks off today. Get yourself a joint subscription, and ready your shutter finger.
July 1, 2015 | by The Paris Review
As readers of the Daily know, we at The Paris Review are big fans of the London Review of Books. It’s not just our favorite British book review—it’s our favorite British magazine, period. It sets a standard for criticism and literary journalism, with essays that examine every aspect of politics and culture from an informed, personal point of view. We never miss an issue. And we’re proud to say they read us, too, for the best in cutting-edge fiction, poetry, and interviews.
That’s why, last summer, our two magazines teamed up to offer a joint subscription for one low price. Two months, one pelican, and a couple of beekeepers later, it was the most successful subscription offer in our history. So we’re doing it again.
For a limited time only, you can get a year of The Paris Review and the London Review of Books for just $70 U.S.
June 26, 2015 | by The Paris Review
“Writing religious poetry in the twentieth century is very difficult.” So says Czeslaw Milosz in his 1994 interview with The Paris Review. This, he noted, could be one of the greatest challenges facing the poets of our time: “the incapacity of contemporary man to think in religious terms.” Twenty years later, Rowan Ricardo Phillips published a poem in our summer 2014 issue that begins “Not knowing the difference between Heaven / And Paradise, he called them both Heaven.” That poem appears again in Phillips’ new collection, Heaven. In contemporary poetry, there are few book-length meditations on heaven. It’s strange. What’s more, it’s strange how strange it is: Phillips constantly reminds us that the territory is well charted. His poems pinpoint and stitch together small, disparate nodes of heavenly wisdom scattered through our largely earthbound canon. (Ovid, Homer, Dante, Shakespeare, to name a few of the patron saints.) The flow of astronomical allusions, like the subject itself, feels mundane at a glance and somewhat trite to mention. But as Phillips brings them close with the tight scope of his scholarship and lyric observation, they become unfamiliar, and heaven becomes something new, “this star-seized evening that’s / Unreeling and unreals.” —Jake Orbison
I managed to get my hands on a copy of Elena Ferrante’s fourth Neapolitan Novel, The Story of a Lost Child (out in September), and have been able to focus on little else all week. In this final installment of the story of Elena and Lila, Ferrante delivers some seismic-level surprises that somehow don’t feel contrived, that instead unearth a new internal symmetry beneath the dynamics established in the earlier books. As Ferrante shapes and reshapes her narrative, she watches generations of Italian intellectuals do the same for that of their country, continuously redefining the acceptable terms for political and social engagement. When they’re not fixating on Ferrante’s anonymity, reviewers like to talk about “the inner lives of women” and “female friendship” in these novels, as if Ferrante is venturing into entirely uncharted territory—as if women’s interiority hasn’t dominated a good part of the past several hundred years’ fictional output. Maybe Ferrante’s femaleness gets emphasized because we don’t have the vocabulary to describe what is indisputably different about her books, to explain why they read like a revelation to so many readers—this one included. —Rebecca Panovka
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June 22, 2015 | by The Paris Review
We were sad to learn that James Salter died on Friday at ninety. “He once called himself a ‘frotteur,’ saying he liked to rub words between his fingers,” Louisa Thomas wrote today in Grantland. “He wrote for the ear, not the eye, in lines that are long and unspooling or short and taut as bowstrings … It is in their quiet accumulation, the way they weave together, that they become transparent, graceful, and devastating.”
Salter had a long affiliation with The Paris Review; the quarterly published many of his stories, beginning with “Sundays”, which appeared in our Summer 1966 issue. George Plimpton published Salter’s novel A Sport and a Pastime through Paris Review Editions, a short-lived imprint attached to Doubleday. “Although I have never managed to appear on the masthead, which has innumerable people on it,” Salter said in his 1993 Art of Fiction interview, “I feel I am a member of the family.”
In 2011, we awarded Salter our Hadada Prize, given annually to a “distinguished member of the literary community who has demonstrated a strong and unique commitment to literature.” This week, to celebrate and remember him, the Daily will rerun a series of pieces about him written in anticipation of that award. To begin, we’re reprinting his acceptance speech, given April 12, 2011.
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June 19, 2015 | by The Paris Review
Two-thirds of Jane Smiley’s Last Hundred Years trilogy has been published—the second volume just came out a month or so ago—and if you haven’t started it yet, it’s not too late to begin. And you should: they’re so good. Smiley’s process is additive—three books’ worth of Langdon family history, a long recitation of individual lives with history and politics playing out in the background. They remind me of another book of hers I love, The Greenlanders, a medieval saga that follows the travails of a small community over some nine hundred pages. Smiley’s writing in all three books is spare and lean; she resists adding authorial commentary and is content, instead, to stand back and watch her characters make their own way. I wondered whether the second volume would be as satisfying as the first. It is and it isn’t: the story is utterly addictive and only left me wanting more. I’m grateful there’s a third one on the way, but I don’t know how I’ll cope after that. —Nicole Rudick
In last year’s profile of William Vollmann for The New Republic, Tom Bissell remarked of Vollmann’s forthcoming 1,300-page tome, The Dying Grass, “It sound[s] a bit like William Gaddis, except more insane.” I’m happy to report that it is, in fact, insane. This demented opus is book five in his seven-volume (!) series concerning the settlement of North America; The Dying Grass focuses on the Nez Perce War of 1877. After years of broken treaties and strained relations, the Nez Perce refused to give up their ancestral lands and move to an Indian reservation in Idaho, deciding they’d rather to take up arms against the “Bostons,” led by the devoutly Christian, and possibly inept, one-armed Civil War veteran General O. O. Howard. Though outgunned, the Nez Perce manage to slip Howard’s grasp at every turn, dragging the war though Oregon, Idaho, and much of Montana, for five months. The book plods along as the campaign must have, but it’s filled with vivid characters and rich history. Its layout can mystify: the left side of the page features dialogue occurring in real time, and right side of the page contains what must be these characters’ thoughts as they talk to one another. But if you’re interested in entering Vollmann’s headspace, The Dying Grass is worth it, even if you sometimes suspect he wrote the book faster than you can read it. —Jeffery Gleaves
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June 12, 2015 | by The Paris Review
Say what you will about Tom McCarthy’s novels: they bring out the best in their critics. Few other writers goad us into asking such broad, terrifying questions as, What should fiction do? Who is it for? And how can it undermine authority? In 2008, Remainder inspired Zadie Smith’s seminal essay “Two Paths for the Novel”; now McCarthy’s Satin Island has landed a series of reviews offering unusually acute observations on the state of the novel. Read Gideon-Lewis Kraus in Bookforum, James Lasdun in the Guardian, Christopher Tayler in the London Review of Books, and William Deresiewicz in The Nation: each unabashedly cerebral, and each proving that seemingly empty-isms—realism, postmodernism, postcolonialism, formalism, antihumanism—have life in them yet. —Dan Piepenbring
The property names in Monopoly are taken from the boomtown ideal that was turn-of-the-century Atlantic City, with one glaring exception: Marvin Gardens, which does not, as such, exist. If you consider the game a metaphor for the dreams of the middle class, that absence bodes ill: it’s a coveted place you can never hope to get to. John McPhee’s 1972 essay “The Search for Marvin Gardens,” collected in his Pieces of the Frame, uses Monopoly to examine the significance of Atlantic City in the seventies, when it had fallen on hard times. As McPhee and a partner roll the dice, advancing their pieces and buying properties, a ghostly second narrator walks through the real St. Charles Place, Baltic Avenue, and New York Avenue, reporting that they’re all slums; the two players circle the board and the neighborhoods get worse. When McPhee realizes that his “only hope is Marvin Gardens,” his reportorial counterpart learns that it’s not even in the city at all; it’s one town over in Margate, New Jersey, and it’s spelled Marven. Rarely is McPhee’s writing as disjointed as it is in this piece; the essay’s aphoristic, time-traveling, jump-cut style asks so much of its readers that it’s astonishing The New Yorker published it. I haven’t seen anything as boldly form-defying in its pages for a while. —Jeffery Gleaves
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