Posts Tagged ‘Brenda Shaughnessy’
August 25, 2015 | by The Paris Review
This November, we’re publishing our first anthology of new writing in more than fifty years. The Unprofessionals: New American Writing from The Paris Review features thirty-one stories, poems, and essays by a new generation of writer. It’s a master class, across genres, in what is best and most alive in American literature today.
Take a look at the cover and you’ll recognize names such as John Jeremiah Sullivan, Atticus Lish, Emma Cline, Ben Lerner, and others who have become emblematic of a renaissance in American writing. Although these are younger writers, already any history of the era would be incomplete without them. At a moment when it’s easy to see art as another product—and when writers, especially, are encouraged to think of themselves as professionals—the stories, poems, and essays in this collection have no truck with self-promotion. They turn inward. They’re not afraid to stare, to dissent, or even to offend. They answer only to themselves.
In the coming months, we’ll reveal more about the anthology, which Akhil Sharma calls “the best possible introduction to the best literary magazine we have.” Stay tuned!
December 1, 2014 | by The Paris Review
That photo on the cover comes from Marc Yankus, whose subject is New York buildings: “I can feel the brick, I can feel the hardness and the corners of the building ... the structure, the monolith, the sculpture, the abstract.”
In the Art of Memoir No. 2, Vivian Gornick talks about feminism, bad reviews, love versus work, and coming to terms with failure:
I knew I had to stay with it as long as it took to write a sentence I could respect. That’s the hardest thing in the world to do—to stay with a sentence until it has said what it should say, and then to know when that has been accomplished.
And in the Art of Screenwriting No. 5, Michael Haneke reveals the imaginative process behind movies like The White Ribbon and Amour—and why there are no “right” readings of his films:
I would never set out to make a political film. I hope that my films provoke reflection and have an illuminating quality—that, of course, may have a political effect. Still, I despise films that have a political agenda. Their intent is always to manipulate, to convince the viewer of their respective ideologies. Ideologies, however, are artistically uninteresting. I always say that if something can be reduced to one clear concept, it is artistically dead.
There’s also a special triple feature on Karl Ove Knausgaard, with an exclusive excerpt from My Struggle, Book 4; an essay on depression and Dante’s hell; and an exchange with The New Yorker’s James Wood on masculinity and good reasons for writing badly.
Plus new fiction by Joe Dunthorne, Ottessa Moshfegh, Sam Savage, and Saïd Sayrafiezadeh; poems from Sylvie Baumgartel, Jeff Dolven, Cathy Park Hong, Phillis Levin, Jana Prikryl, Frederick Seidel, and Brenda Shaughnessy; and a series of aphorisms by Sarah Manguso.
Get your copy now. And may we add that a subscription to The Paris Review makes a great present? The recipient will receive a postcard announcing your gift with your personal message. Just select the “gift” option when you check out.
September 2, 2014 | by The Paris Review
You may recognize the distinctive hand behind our autumnal cover art—that’s Chris Ware, who’s interviewed in this issue about the Art of Comics:
I just figured there must still be various ways to make art “about” something without making it bad or sentimental. Comics basically seemed a way toward this goal for me … I think cartooning gets at, and re-creates on the page, some sixth sense—of space and of being in a body—in a way no other medium can quite so easily, or at least so naturally.
Then there’s our interview with Aharon Appelfeld:
My nights are a nightmare, quite often, but the nightmares are rich—rich in human behavior, rich in feelings, rich in sensations. I nourish myself by those nights. They nourish me.
And in the Art of Fiction No. 225, the Nobel Prize–winner Herta Müller discusses her early fascination with plants (“They knew how to live and I didn’t”), life under Ceauşescu, and her approach to the sentence:
I’m not hungry for words, but they have a hunger of their own. They want to consume what I have experienced, and I have to make sure that they do that … The language knows where it has to wind up. I know what I want, but the sentence knows how I’ll get there.
There’s also an essay by David Searcy; the final installment of Rachel Cusk’s novel Outline, illustrated by Samantha Hahn; fiction by David Gates, Atticus Lish, and Alejandro Zambra; and poems by Karen Solie, Stephen Dunn, Maureen M. McLane, Devin Johnston, Ben Lerner, Frederick Seidel, Linda Pastan, and Brenda Shaughnessy.
And finally, a portfolio of letters between George Plimpton and Terry Southern, circa 1957–58, in which Southern writes of this magazine, “[its] very escutcheon has come to be synonymous (to my mind at least) with aesthetic integrity, tough jaunty know-how, etc.”
Get yourself some of that integrity and know-how—subscribe now!
August 28, 2013 | by Kelly McMasters
Of one order are the mysteries of light
and of another are those of fantasy
Rider Tarot Deck instructions
—Brenda Shaughnessy, Our Andromeda
A good friend came to visit this spring, and a few times during her stay, she pulled a book off the shelves, either from Moody Road Studios or at my home, shuffled the pages under her thumb, and stuck a finger on a line like an arrow hitting a bull’s-eye. Then she’d read the single line aloud, a kind of party trick.
This would typically happen when we’d be in the middle of a conversation, talking about some big questions that we were swirling at the time, the should-I-or-shouldn’t-I, will-this-work-or-not, should-I-take-this-chance kind of conversations that tend to occur after some Southern Comfort on a patio. She used whatever book was in her hand as a literary tarot, and believed the line would tell us all we needed to know. Usually, bizarrely, it worked.
I tried this on my own, but it fell flat. After the house was asleep, I would pose a question in my head and stalk a book, pull it from the stack before it could resist, flip open its pages and point hungrily at it, waiting for its answer. Each time, the result was tinny, hard-pressed, wanting. It reminded me of late nights with my Ouija board as a kid, waiting desperately for something to speak to me when I was really just waiting for my own voice.
People ask a lot of their books. They want them to be amazing, they want them to be cheap, they want them the moment they walk through my door. I often feel like a kind of carnival showman, flashing bright colors in front of the customer, hoping something catches their eye. People’s personal restrictions always amaze me. “I don’t read books with dogs in them.” “I don’t like to have to think too hard.” “I can’t buy books with white covers.” Really? Read More »
November 3, 2011 | by Lorin Stein
It takes guts to apostrophize a heavenly body. Everybody’s seen them: Sappho, Keats, Mayakovsky, O'Hara, you name it. After all these millions of years, what’s left to say? And to write a poem addressing the moon herself—a breakup poem, no less!—you had better be extremely naive, or else know exactly what you’re doing, and get lucky, too.
This is what bravery looks like in a poem. It is not (necessarily) a matter of sharing personal information. To my mind, a brave poem is one that risks seeming stupid or grandiose or frivolous, that nods in recognition at various poems that came before, then sweeps past, racing toward the thing it came to say.
The first time I read Brenda Shaughnessy’s poem “I’m Over the Moon” five years ago, it was a Sunday and I was sitting at the breakfast table. I remember because “I’m Over the Moon” is the only poem I have ever read out loud at a breakfast table. Having read it, I had to share it. The poem marked a new directness in Shaughnessy's work (“I've had to learn to be direct”), but all the sass and sense of humor I loved from before were intact. Lately “I'm Over the Moon” has been on my mind again (ever since we published two of Shaughnessy’s more recent poems in the Review).
It is the first entry in our series “The Poem Stuck in My Head”: Read More »
September 6, 2011 | by Sadie Stein
It avails not, neither earthquake nor hurricane nor suspended subway service— The Paris Review comes out on time. It’s a doozy, if we say so ourselves, and not to be missed. Subscribe now, or renew, and receive a limited-edition Paris Review café au lait cup. You can sip in style while you enjoy a full year of fiction, poetry, and prose.
In the fall issue:
Nicholson Baker discusses the pleasures of writing smut:
Sexual arousal itself is a kind of drug. It has also turned out to be one of the few plots I can actually handle. If I imagine a man and a woman talking, and I know that later on they’re going to be taking some of their clothes off, that pulls me merrily along ... The basic boy-meets-girl plot in which they talk a little bit and then they have some kind of slightly bizarre sex—that plot I can do. Other plots are harder.
So many children—most of them obnoxious-looking. It’s a fact: 99 percent of all photographs ever taken have little brats in them. Mugging, leering, pushing one another. Wielding fearsome Betsy Wetsy 147 dolls. Pouting in pajamas on the floor over unsatisfactory Christmas presents. Prancing egotistically. The sort of kids that Wittgenstein, back when he was a mean, half-demented schoolmaster in the Austrian Alps or wherever it was—long before Cambridge and the Tractatus—would have walloped upside the head and thrown in the snow. How is it, indeed, that I have so many of them? More, even, than Joyce Carol Oates has written novels. And not one, needless to say, did I get for free.
Geoff Dyer on Tarkovsky. Lydia Davis on translating Flaubert. The Dennis Cooper interview. Fiction by Roberto Bolaño and newcomer Kerry Howley. Poems by Sharon Olds, Brenda Shaughnessy, Constantine P. Cavafy, Paul Muldoon, Jeff Dolven, Meghan O’Rourke, and Forrest Gander.