Posts Tagged ‘Dave Eggers’
October 3, 2013 | by Sadie Stein
April 2, 2013 | by Lorin Stein
On 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.
January 18, 2013 | by The Paris Review
When the novelist Adam Thirlwell told me his idea, I was skeptical: to publish a work of fiction in many translations, each version being a translation of the one before. But Adam Thirlwell is Adam Thirlwell, “schemey like a nine-year-old,” as one collaborator describes him, with “weird vibes, as if he does unorthodox things to the books he carries to the bathroom.” Multiples, the new issue of McSweeney’s, edited by Thirlwell, is an unorthodox thing of beauty, a stunt that only a kid would attempt, and an absolute pleasure to read—though almost nobody on earth will be able to read every page. What Thirlwell has done is to assemble new or obscure works by Kierkegaard, Vila-Matas, Krasznahorkai, et al., translated (and retranslated, and retranslated) by a dream team of polyglot writers. So, for example, Dave Eggers translates a Spanish translation by Alejandro Zambra of an English translation by Nathan Englander of a Hebrew translation by Etgar Keret of an English translation by John Wray of a previously untranslated short story by Franz Kafka. It’s a game of pro-level Chinese whispers, and—thanks to Thirlwell's list of contributors—a wide-angle snapshot of our literary firmament, circa now. Plus, the afterwords by Thirlwell and Francesco Pacifico have persuaded me not only that it would be fun to read Emilio Gadda in Italian, but that a translator can have more fun with an untranslatable writer than I ever dared to dream. —Lorin Stein
The editors of the New York Times blog Anxiety recently asked Laszlo Krasznahorkai to contribute an essay on the theme. This is the writer who eschews paragraph breaks and short sentences because he feels they are artificial and whose subjects are often very bleak—which is to say, he’s their ideal contributor. The author himself describes it as “a lyrical essay about the terrible meeting between boorishness and aggressiveness,” but with Krasznahorkai, it’s so much more than that. There are paragraph breaks and the occasional brief sentence (one wonders if the former appeared in the original version), but this is a hard little gem, a Möbius strip of what feels simultaneously like madness and utter logic. —Nicole Rudick
December 25, 2012 | by Jason Diamond
We’re out this week, but we’re re-posting some of our favorite pieces from 2012 while we’re away. We hope you enjoy—and have a happy New Year!
In a 1940 letter to his daughter written six months before his death, F. Scott Fitzgerald said, “Once I thought that Lake Forest was the most glamorous place in the world. Maybe it was.” Sixty-six years later, as I drove through the Illinois suburb that sits thirty-two miles north of the heart of Chicago’s Loop, I kept looking around and wondering to myself what exactly it was that Fitzgerald found so great. I thought about him as I drank a coffee at a Starbucks that wasn’t there the last time I’d visited, and I noticed that the McDonald’s drive-through near the Metra train station seemed to be buzzing. All the suburban trappings I recalled from a childhood spent on the North Shore of Chicago were still there. To me, Lake Forest was a place I’d gotten to know by peeking through frosted car windows on my way to early morning hockey practice as a kid. Cozy, definitely, but not exactly the sort of place I associate with the Roaring Twenties decadence and wild parties conjured by Fitzgerald’s name.
Founded in 1861, Lake Forest, Illinois, was originally built as a college town by Presbyterians. After the Civil War, the city attracted residents whose last names were synonymous with the building (and a decade later, the post–Great Fire rebuilding) of Chicago. Thanks to its tranquility and natural beauty, as well as its isolation from main roads, Lake Forest became the Chicago metropolitan area’s most desirable neighborhood, attracting Rockefellers, Armours, Medills, and Marshall Fields. Lake Forest was the Greenwich of the Midwest: a haven for robber barons and meat packers far from the strikes, riots, and muckrakers that threatened the wealth and safety of the early twentieth century’s 1 percent. By the city’s 150th anniversary, in 2011, Lake Forest had served as the setting for a best-selling novel (A Heartbreaking Work of Staggering Genius, by native son Dave Eggers) and Oscar-winning film (Robert Redford’s Ordinary People). But the city’s first true claim to literary fame came in 1925, as a passing mention in the first chapter of The Great Gatsby, in which we learn from narrator Nick Carraway that Tom Buchanan has bought a string of polo ponies from Lake Forest. Carraway is amazed that a man of his own generation is wealthy enough to have done so.
September 28, 2012 | by The Paris Review
I’m not really a fan of family-drama novels—I make exceptions for Lionel Shriver and Jane Smiley—but when one is set in your home state and the author teaches at your alma mater, it seems like required reading. Now I can make Andrew Porter’s In Between Days an exception, too. This story of a family’s collapse begins after the falling apart—infidelity, divorce, coming out, leaving for college—has already taken place. There’s more dysfunction to come, but the real treat is Porter’s plainspoken treatment of his characters, quiet and intense, and the revelation of fine but substantive fractures that are impossible to repair. —Nicole Rudick
Blaise Cendrars and Sonia Delauney published The Prose of the Trans-Siberian and of Little Jeanne of France in 1913, calling it “The First Book of Simultaneity.” Cendrars’s poem, recounting a journey he may or may not have taken from Moscow to Manchuria, was accompanied by Delauney’s scroll of abstract forms in bright colors. The idea was that the reader should take in the text and painting simultaneously, and the poem strives gamely toward the same goal: “So many associations images I can’t get into my poem / Because I’m still such a really bad poet / Because the universe rushes over me / And I didn’t bother to insure myself against train wreck.” A facsimile edition of the original book—a gorgeous, unfolding paper accordion—has been published by Yale, and I’ve been staring at it all afternoon. —Robyn Creswell
April 16, 2012 | by Sadie Stein