Posts Tagged ‘92Y’
March 24, 2014 | by Dan Piepenbring
What do Paul Theroux, Ryszard Kapuściński, Peter Matthiessen, and Jan Morris have in common? All four have advanced the art of travel writing, or writing that foregrounds a sense of place. And over the years, all four have been interviewed at 92Y’s Unterberg Poetry Center, where The Paris Review has copresented an occasional series of live conversations with writers—many of which have formed the foundations of interviews in the quarterly. Now, 92Y and The Paris Review are making recordings of these interviews available at 92Y’s Poetry Center Online and here at The Paris Review.
As yet another cold front shunts frigid air in our direction, it’s especially nice to hear smart people talk of exotic climes and faraway places. So you can listen to Paul Theroux, who spoke to our beloved founder, George Plimpton, in December 1989:
I came from, not a small town, but basically not a very interesting place. I felt that the world was elsewhere and that nothing was every going to happen to me, or that I wouldn’t actually see anything, feel anything, any sense of romance or action, or that my imagination wouldn’t catch fire until I left home. So it was very important for me not to rebel but simply to get away, to go away …
Or a conversation with Jan Morris, who appeared at 92Y that October:
I resist the idea that travel writing has got to be factual. I believe in its imaginative qualities and its potential as art and literature. I must say that my campaign, which I’ve been waging for ages now, has borne some fruit because intelligent bookshops nowadays do have a stack called something like travel literature. But what word does one use? … I think of myself more as a belletrist, an old-fashioned word. Essayist would do; people understand that more or less. But the thing is, my subject has been mostly concerned with place.
Or Peter Matthiessen, another cofounder of The Paris Review, from 1997:
It’s broad daylight, good visibility, yet mountains move. You perceive that the so-called permanence of the mountains is illusory, and that all phenomena are mere wisps of the cosmos, ever changing. It is its very evanescence that makes life beautiful, isn’t that true? If we were doomed to live forever, we would scarcely be aware of the beauty around us …
Or Ryszard Kapuściński, from 1991:
If we write about human beings, in the most humanly way we are able to, I think everybody will understand us. I find humanity as one family. People really are very much the same in their reactions, in their feelings. I know the whole world. I can’t find much difference in the way men react to others’ unhappiness, disasters, tragedies, happiness. Writing for one man, you write for everybody.
These recordings are the next best thing to a vacation. Their release is made possible by a generous gift in memory of Christopher Lightfoot Walker, who worked in the art department at The Paris Review and volunteered as an archivist at 92Y’s Poetry Center.
February 3, 2014 | by Dan Piepenbring
Join us this evening at 92Y, where, snow be damned, Gary Shteyngart and Elif Batuman will take the stage to read from their latest work. They’ll be introduced by Sloane Crosley and our very own Lorin Stein, respectively. The night begins at 8:15; those unable (or unwilling) to face the slush can watch a free livecast here. (If last night’s Super Bowl was any indication, it will be much better than whatever’s on TV.)
January 23, 2014 | by Christopher Richards
- Yellow screen. Sound of a garden gate bell.
- Open countryside, a line of trees, seen from a railway carriage. The train is still. No sound. Quick fade out.
- Momentary yellow screen.
- The sea, seen from a high window, a towel hanging on a towel rack in foreground. No sound. Quick fade out.
- Momentary yellow screen.
- Venice. A window in a palazzo, seen from a gondola. No sound. Quick fade out.
- Momentary yellow screen.
So begins the wordless sequence of thirty-six shots at the start of The Proust Screenplay, Harold Pinter’s adaptation of À la recherche du temps perdu, written in the seventies and never filmed.
To celebrate the hundredth anniversary of the publication of Proust’s Swann’s Way a series of public events have been planned in New York. Part of 92Y’s contribution to the centenary was a staged reading of Pinter’s The Proust Screenplay, which was produced at the National Theatre in London in 2001 but had never been performed in the States before its 92Y debut. Helmed by the same director from the National’s production, the 92Y’s reading was directed by Di Trevis, who collaborated with Pinter to stage his screenplay. Performed by a cast of fourteen—led by Peter Clements, a dead ringer for Proust—the crowded event felt like a staged reading in name only; fully blocked out with lighting cues, set pieces, and props, the presence of the actors’ scripts was the only sign that this wasn’t a complete production. Read More »
January 22, 2014 | by Cynthia Ozick
“75 at 75,” a special project from the 92nd Street Y in celebration of the Unterberg Poetry Center’s seventy-fifth anniversary, invites contemporary authors to listen to a recording from the Poetry Center’s archive and write a personal response. Here, Cynthia Ozick reflects on W. H. Auden, whose readings she remembers attending as a Poetry Center subscriber in the fifties.
There must be sorrow if there can be love. —From “Canzone”
Ah, the fabled sixties and seventies! Jack Kerouac and William Burroughs! The glorious advent of Howling! Of Getting Stoned! The proliferation of Ginsbergian Exclamation Points! To secure the status of their literary subversion, these revolutionary decades were obliged, like the cadres of every insurrection, to denigrate and despise, and sometimes to blow up, their immediate predecessor, the fifties—the middling middle, the very navel, of the twentieth century. The fifties, after all, were the Eisenhower years, stiff and small like Mamie’s bangs (and just as dated), dully mediocre, constrained, consumerist, car-finned, conformist, forgettable, and stale as modernism itself. Randall Jarrell, one of its leading poets and critics, named this midcentury epoch “The Age of Criticism”—and what, however he intended it, could suggest prosiness more? And what is prosiness if not the negation of the lively, the living, the lasting, the daring, the true and the new? The reality was sublimely opposite. It was, in fact, the Age of Poetry, a pinnacle and an exaltation; there has not been another since. Its poets were more than luminaries—they were colossi, their very names were talismans, and they rose before us under a halo of brilliant lights like figures in a shrine. It was a kind of shrine: the grand oaken hall, the distant stage and its hallowed lectern, the enchanted voices with their variegated intonations, the rapt listeners scarcely breathing, the storied walls themselves in trance—this was the Poetry Center of the 92nd Street Y in the heart of the twentieth century. Read More »
December 13, 2013 | by James Atlas
The other day we shared recordings of Garrison Keillor, William Styron, and Iris Murdoch as part of an ongoing collaboration with 92Y’s Unterberg Poetry Center. Since 1985, the Poetry Center and The Paris Review have copresented an occasional series of onstage conversations—many of which have ended up as part of our published Writers-at-Work interviews—and we’ll be sharing more of these recordings in the months to come. Meanwhile, here is James Atlas on what it was like to interview Iris Murdoch on February 22, 1990. This essay is also part of 75 at 75, a special project for the Poetry Center’s seventy-fifth anniversary that invites contemporary authors to listen to a recording from the Poetry Center’s archive and write a personal response.
I have known three charismatic writers in my life: Philip Roth, Robert Lowell, and Iris Murdoch. (A fourth, Saul Bellow, was what might be called anticharismatic, by his own choice; he didn’t mind attention, but he liked to keep his self to himself.) And there is one venue that I would describe as charismatic if an auditorium can be defined that way: the 92nd Street Y. Every major writer in the English-speaking (or I should say -writing) world has spoken there. I myself have seen—and, more importantly, heard—Joseph Brodsky, Joyce Carol Oates, John Irving, Gore Vidal, Bellow (on several occasions), and many others I can’t remember. So when I was invited to interview Dame Iris on the occasion of a visit in the winter of 1990, it wasn’t exactly a hard sell. In fact, it would turn out to be one of the great literary experiences of my own life.
I use her title with great reluctance because I did know Iris Murdoch, having spent time with her in Oxford a few years earlier for a Vanity Fair profile. This was no doubt the reason why the Y had thought of me in the first place for a live Writers-at-Work interview cosponsored by The Paris Review. As famous as she was, Murdoch did not have a large following in America, and there may have been a limited pool of interlocutors capable of introducing her before the kind of sophisticated New York audience that tended to show up at the Y.
She was a gentle soul, soft-spoken, and almost willfully self-effacing. When I first met her at Oxford, at a friend’s Sunday brunch, she had grilled me about my own life—my family, my children, my education, books written, books not written, before she had even figured out that I was the man from America who had come all that way to interview her. I was nervous about the very public forum of the Y anyway; how was I supposed to sit there on stage in front of nine hundred people and ask—for instance—about her forbidding work of philosophy, Metaphysics as a Guide to Morals? I hit upon a rather craven solution: “I’m just going to ask you one question, Iris, and then you speak for an hour.”
As I listen to this recording now, I discover with relief that she was anything but forbidding. She was modest. When I asked her what she thought she had achieved—remember, she was over seventy at this point and had long been considered one of the most important writers in England—she answered, with complete sincerity, “I haven’t achieved anything yet.” She was profound without sounding that way, or, I suspect, even knowing that she was: “Live in the present. It’s what you think you can do next that matters.” And she was funny: “The thing about the theater is, why do people stay there? Why don’t they just get up and go?” But the most valuable thing I learned from Dame Iris Murdoch that evening was about the relationship between art and humility. “One is always discontented with what one has done,” she said. “One always hopes to do better.” To be satisfied with one’s work was to misunderstand the very nature of creativity.
Toward the end of our hour, she gave the audience—or was it just me this was intended for?—a piece of advice: “It’s a good idea to know about something.” “I’ll keep that I mind,” I quipped. There was laughter in the auditorium, and I realize now that knowing about Iris Murdoch—even the little I knew—had been a good idea.
James Atlas is the founding editor of the Lipper/Viking Penguin Lives Series. A longtime contributor to The New Yorker, he was an editor at The New York Times Magazine for many years. His work has appeared in The New York Times Book Review, The New York Review of Books, The London Review of Books, Vanity Fair, and many other journals. He is the author of Delmore Schwartz: The Life of an American Poet, which was nominated for the National Book Award.
December 10, 2013 | by Sadie Stein
This is exciting, and something we’ve had in the works for a long time.
Since 1985, 92Y’s Unterberg Poetry Center and The Paris Review have copresented an occasional series of live conversations with writers—many of which became the foundation of a Writers-at-Work interview. As of today, 92Y and The Paris Review are making these recordings available at 92Y’s Poetry Center Online and here at The Paris Review. The release of these recordings is made possible by a generous gift in memory of Christopher Lightfoot Walker, who worked in the art department at The Paris Review and volunteered as an archivist at 92Y’s Poetry Center.
The online series kicks off with audio of Garrison Keillor on the secrets of humor writing; Iris Murdoch on what makes a great book; and William Styron on the future of the written word. The series also happily features George Plimpton, the late, great founder of The Paris Review, conducting many of the interviews.
Stand by in the coming months for audio of John le Carré, Arthur Miller, Norman Mailer, Octavio Paz, Günter Grass, Paul Auster, Tony Kushner, Czeslaw Milosz, Maya Angelou, Jamaica Kincaid, and Allen Ginsberg, among others.