Posts Tagged ‘Arthur Miller’
April 6, 2016 | by Dan Piepenbring
At 92Y’s Unterberg Poetry Center, 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. Recently, 92Y and The Paris Review have made recordings of these interviews available at 92Y’s Poetry Center Online and here at The Paris Review. Consider them deleted scenes from our Writers at Work interviews, or directors’ cuts, or surprisingly lifelike radio adaptations.
This week we’re debuting four new recordings from the series. Today, listen to Arthur Miller, who talked with Christopher Bigsby on January 4, 1999. Their conversation laid the groundwork for Miller’s Art of Theater interview in the magazine later that year. Here, he dilates on meeting Mel Brooks (“He said, What’s [the play] about? And I said, Well, there are these two brothers… and he said, Stop, I’m crying!”), watching productions of his work, and the influence of politics in his plays:Read More »
March 24, 2016 | by The Paris Review
“An Indulgence of Authors’ Self-Portraits” appeared in our Fall 1976 issue, the same year Burt Britton’s book Self-Portraits—Book People Picture Themselves was published. Britton’s book displays his collection of self-doodles by famous authors, artist, athletes, actors, and musicians, much of which was sold at auction in 2009. “So what does Mr. Britton look like?” asked the New York Times in 2009. “He refused to be photographed.” —Jeffery Gleaves
One evening fifteen years ago Burt Britton (now head of the Review department at the Strand Bookstore) and Norman Mailer were sitting together in the Village Vanguard where Britton then worked. On impulse, Britton asked Mailer for a self-portrait. Mailer complied—the first of a collection which began to fill the pages of a blank book in the Strand. These were done by friends—primarily writers—who entered their drawings and salutations when they visited the store. No one has refused him a self-portrait. When he remarked on James Jones’ generosity, Jones explained, “Burt, for Christ’s sake, I wouldn’t be left out of that book!”
As his collection grew, Britton was approached by a number of publishers, but always refused publication on the grounds that the self-portraits were the property of his private mania. But recently Anais Nin and others have persuaded him to let others in on how writers view themselves. Random House will publish the entire collection this fall under the title, Self-Portraits—Book People Picture Themselves. Many of the portraits reproduced here are by writers who have been published and/or interviewed in this magazine. Read More »
November 27, 2013 | by Timothy Leo Taranto
What does your favorite book from high school tell you about your life?
Tim Taranto hails from Upstate New York and attended Cornell. In addition to The Paris Review Daily, his work has appeared on the Rumpus and McSweeney’s Internet Tendency. Tim lives in Iowa City, where he is studying fiction at the Iowa Writers’ Workshop.
October 17, 2013 | by Sadie Stein
“Being a playwright was always the maximum idea. I’d always felt that the theater was the most exciting and the most demanding form one could try to master. When I began to write, one assumed inevitably that one was in the mainstream that began with Aeschylus and went through about twenty-five hundred years of playwriting. There are so few masterpieces in the theater, as opposed to the other arts, that one can pretty well encompass all of them by the age of nineteen. Today, I don’t think playwrights care about history. I think they feel that it has no relevance.” —Arthur Miller, the Art of Theater No. 2
February 8, 2013 | by The Paris Review
If you’re going to judge a book by its endpapers, then I recommend Julie Morstad’s The Wayside. I’ve spent a fair amount of time imagining them on the walls of the drawing room I don’t have. It helps that the rest of the book—all new drawings by the Canadian illustrator—is equal parts charming and strange. There’s definitely an Edward Gorey–esque feel to her work, but I also see occasional hints of William Pène du Bois (in a troupe of women acrobats) and Amy Cutler (in the wonderful patterned textiles). I think my favorite drawing may be a double gatefold depicting groups of flatly rendered performing-arts kids doing their thing. It’s Attic form meets Fame. —Nicole Rudick
In the early fifties, a married Cuban socialite has an epistolary romance with a dashing political prisoner. They meet for one night, and the woman bears his child. Meanwhile the young man, freed from prison, seizes command of the struggle against Batista and becomes ruler of their country. It sounds (and reads) like a novel, but Havana Dreams, Wendy Gimbel’s 1998 portrait of Naty Revuelta and her daughter Alina, is a work of intimate reportage, and the relationship of these two women to Fidel Castro takes on an uncanny symbolic weight. The book invaded my own dreams. —Lorin Stein Read More »