Posts Tagged ‘Donald Antrim’
November 17, 2015 | by Dan Piepenbring
Inspired by our famous Writers at Work interviews, “My First Time” is a series of short videos about how writers got their start. Created by the filmmakers Tom Bean, Casey Brooks, and Luke Poling, each video is a portrait of the artist as a beginner—and a look at the creative process, in all its joy, abjection, delusion, and euphoria.
Today’s featured writer is Donald Antrim, whose first novel, Elect Mr. Robinson for a Better World, appeared in 1993.
Watch our previous “My First Time” interviews:
- Sheila Heti on The Middle Stories, her first collection
- Tao Lin on Bed, his first collection
- Christine Schutt on Nightwork, her first collection
- Branden Jacobs-Jenkins on his play Neighbors
- Gabrielle Bell on The Book of ... series, her early cartoons
- J. Robert Lennon on his debut novel, The Light of Falling Stars
July 17, 2015 | by Dan Piepenbring
- Earlier this year, Donald Antrim gave a commencement speech at Woodberry Forest School. His subject was “the unprotected life” and coping with its devastations. For years after a long suicidal depression, he said, “I did not write. It was enough to be restored, and I deeply and sincerely regretted ever writing at all. I’d seen what it could do, what my own choices, my own work, had done to me. I was afraid of what I might write, and afraid, too, that, were I to sit down to it, were I to try, I would only learn that I was broken, and that it was no longer possible for me to bring out a word.”
- Time was, if you didn’t like any of the real musical instruments out there in the world, you’d just make one up in writing. The rich history of “fictophones”—imaginary musical instruments—includes Francis Bacon’s pluperfect sound-houses (“where we practice and demonstrate all sounds and their generation”), the tublo cochleato (an enormous French horn-ish megaphone thing for amplifying the voice), and the torturetron (an organ that sends spikes into the sides of anyone near it, thus adding their pained groans to its own sounds). Best of all, though, is the cat piano, “a set of cats arrayed as sound-producing elements to be activated by the fingers,” which dates to the sixteenth century and was rumored to have cured an Italian prince of his melancholia.
- Information overload is often depicted as one of the most tragic fates of the media age, anathema to all who prize the human condition. But it could be pretty good for poets, who can drown themselves in the “information sublime”: “Poets have not been passive victims of the proliferation of information, but rather have actively participated in—sometimes benefiting from, sometimes implicitly advocating, sometimes resisting—that proliferation … Poetries of information overload—by which I mean poetries and poems that relate either formally or historically to information saturation—demonstrate an extraordinary range of innovative responses to changing technological conditions.”
- Today in the shifting sands of interlingual communication: German phrases have begun to yield to their English equivalents in interesting, not to say insidious, ways. “Germans are noticing that English is changing their fixed phrases, and even grammar. In English, something ‘makes sense.’ For Germans, though, ‘es hat Sinn’ (it has sense) or ‘es ist sinvoll’ (it’s sensible). The German is actually more logical. How, as in English, is something sensible actually making sense? The question is unanswerable; language is weird, and idioms especially. But nonetheless, many Germans are starting to say es macht Sinn, a loan-translation straight from English. Germans are proud of being thoughtful and logical; the idea that making sense is something they would have to borrow from the English might give a traditionalist the shivers.”
- New York has a long, sad history of demolishing architectural wonders: the original Penn Station, the Roxy Theatre, St. John’s Church, the City Hall Post Office. The establishment, in 1965, of the Landmarks Preservation Commission did something to stop the destruction, but it was late in coming—a new exhibition at the Museum of the City of New York, “Saving Place: 50 Years of New York City Landmarks,” reminds of all that’s been lost.
May 21, 2015 | by Dan Piepenbring
The Paris Review is known for its interviews. Our first issue, from Spring 1953, featured a conversation with E. M. Forster on the art of fiction, inaugurating a series that’s grown to include hundreds of poets, novelists, playwrights, translators, cartoonists, and screenwriters. These Writers at Work interviews have created a genre and canon of their own.
In the spirit of that tradition, we’re proud to present “My First Time,” a new video series where writers discuss the trials of writing and publishing that first novel, that first play, that first book of poems. This is a chance to see how successful authors got their start, in their own words—it’s a portrait of the artist as a beginner and a look at the creative process, in all its joy, abjection, delusion, and euphoria.
Next week, starting on Tuesday, we’ll launch the first four videos in the series, featuring Christine Schutt, J. Robert Lennon, Branden Jacobs-Jenkins, and Gabrielle Bell. You can see a preview above, including writers from future installments of the series such as Donald Antrim, Akhil Sharma, Tao Lin, Ben Lerner, and Sheila Heti. And stay tuned—we’ll announce more writers in the months to come.
This series is made by the filmmakers Tom Bean, Casey Brooks, and Luke Poling; we’re delighted to collaborate with them.
April 13, 2015 | by Dan Piepenbring
Our Spring Revel was last Tuesday, and it was, as Gay Talese put it simply, “a real party,” a party for the ages. About five hundred of us gathered at Cipriani 42nd Street to honor Norman Rush with the Hadada Award, presented by James Wood, who recited one of my favorite jokes from Subtle Bodies: “Pinot noir meant don’t urinate at night.”
Hilary Mantel took the stage to award Atticus Lish the Plimpton Prize for Fiction; “I am extremely fortunate to receive this award,” Lish said, “as is anyone who receives recognition in any field. Few people get much of a gold star no matter what they do in life.”
Mark Leyner received the Terry Southern Prize for Humor—which he has publicly promised to hang above his bed, like a mobile—from Donald Antrim. Never in recorded history have the words Sugar-frosted nutsack been uttered before so large and so gracious a crowd. Last, The Paris Review bade a fond farewell to our longtime publisher, Antonio Weiss, who has absconded to Washington to serve as the counselor to the Secretary of the U.S. Treasury. Our loss is the nation’s gain.
It was a spectacular evening, as the photos below attest. You can read accounts of the fun from Womens Wear Daily, New York Social Diary, and Page Six—and you can see even more photos of the revelry here. Happy spring, and see you next year!
Photos by Clint Spaulding / © Patrick McMullan / PatrickMcMullan.com
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March 3, 2015 | by The Paris Review
Each year, at our Spring Revel, the board of The Paris Review awards two prizes for outstanding contributions to the magazine. It is with great pleasure that we announce our 2015 honorees.
The Plimpton Prize for Fiction is a $10,000 award given to a new voice from our last four issues. Named after our longtime editor George Plimpton, it commemorates his zeal for discovering new writers. This year’s Plimpton Prize will be presented by Hilary Mantel to Atticus Lish for his story “Jimmy,” from issue 210—an excerpt from his novel Preparation for the Next Life.
The Terry Southern Prize is a $5,000 award honoring “humor, wit, and sprezzatura” in work from either The Paris Review or the Daily. Perhaps best known as the screenwriter behind Dr. Strangelove and Easy Rider, Terry Southern was also a satirical novelist, a pioneering New Journalist, and a driving force behind the early Paris Review. This year’s prize will be presented by Donald Antrim to Mark Leyner for “Gone with the Mind,” a story from our new Spring issue.
Hearty congratulations from all of us on staff!
(And if you haven’t bought your ticket to attend the Revel—supporting the magazine and writers you love—isn’t this the time?)
November 13, 2014 | by Dan Piepenbring
- Everyone’s going nuts for Serial, an impeccably reported (and very self-aware) true-crime podcast spun off from This American Life. But Janet Malcolm was up to something similar many decades ago, wasn’t she?
- Then again, this should come as no surprise. “Hasn’t it all been done before? Perhaps better than anyone today could ever do it?” Why should any of us bother with the new when so much of the old is out there waiting for us?
- Actually, why should any of us leave our houses at all? We’re just going to encounter the absurd—a bunch of loony scholars, for instance, tooling around town with a life-size statue of Jane Austen in tow …
- And even the best literature offers no respite from the absurd and the terrifying. Quite the opposite. “In August a man in the Bronx tied a chain to a pole, wrapped it around his neck, got behind the wheel of his Honda and stepped on the accelerator. The chain severed his head from his body, which crashed through the windscreen and landed on the street when the Honda slammed into a parked car … It put me in mind of a passage early in Donald Antrim’s first novel, Elect Mr. Robinson for a Better World.”
- But it’s all right. As the world grows more confused and tempestuous, we’ll at least find ourselves with more righteous, awesome, angry gods. A new study finds that “belief in moralizing high gods is ‘more prevalent among societies that inhabit poorer environments and are more prone to ecological distress’ … In societies that exist in places with violent monsoon seasons or periods of extreme drought, cooperation is more important than it is in temperate areas … And what better way to promote cooperation and fair play than the idea of an all-seeing god who demands it?”