Posts Tagged ‘fiction’
July 24, 2015 | by The Paris Review
A memorial service for James Salter will be held at five P.M. on Tuesday, July 28, at the Unitarian Church of All Souls in New York. All members of the public are welcome to attend.
Salter, who died last month, was a longtime member of the Paris Review family. His first published short story, “Sundays,” appeared in The Paris Review no. 38, and he followed with four others (“Am Strande von Tanger,” “Via Negativa,” “The Cinema,” and “Bangkok”); his third novel, A Sport and a Pastime, was published by Paris Review Editions in 1967; his Art of Fiction interview appeared in the magazine in 1993; and he won the Hadada Prize, The Paris Review’s lifetime-achievement award, in 2011—where he announced to the admiring crowd, “This is my Stockholm.”
Jim will be missed by all of us at the Review and by his many Paris Review colleagues from years past. We hope you’ll join us—and his family and many friends—in celebrating his life at his memorial on Tuesday.
July 10, 2015 | by The Paris Review
Just yesterday, I snuck an advance-reader’s copy of Lorenzo Chiera’s Shards: Fragments of Verses, translated from the Italian by Lawrence Ferlinghetti, off a colleague’s bookshelf and devoured it on my subway ride home. The pocket-size book comprises delicious morsels of twelfth-century verse by an otherwise unknown fellow from Testaccio. Though the fragments—plucked from scratches on parchment paper or fiber sacks—are no more than a few lines each, they brim with raunch and grime and love. Chiera breathes sex into most verses, which are bound to make one blush with either delight or despair. Some read as playful winks, others as moans, and still others as desperate, carnal prayers. “Hearing Chiera for the first time,” Ferlinghetti writes in his introduction, “we soon realize we are in the presence of a savage erotic consciousness, as if the lust-driven senses were suddenly awakened out of a hoary sleep of a thousand years … He’s vulgar. He’s mad. He’s uncouth. Yet he is innocent.” Here’s a little taste of Chiera himself: “Sexy Nonny / in her silk nun’s habit / behind the arras / of the cult of the Virgin / stuck her tongue in my mouth / when I was fourteen / Made me cream.” —Caitlin Youngquist
I’ve never read any fan fiction, and I never made it all the way through Pretty Woman, so devotees of either may take this recommendation with a grain of salt, but I loved Michael Friedman’s novel Martian Dawn, all about a couple of movie stars (viz Richard and Julia) whose off-screen romance is strained by a visit to the Red Planet. No doubt half the jokes went over my head. It didn't matter. Friedman’s urbane silliness and élan hark back to the glittering twilight of high camp—without seeming to hark back. Hats off to Little A for reissuing Martian Dawn and Other Novels. I didn’t know anyone could still make it look so easy to have so much fun on the page. —Lorin Stein
June 26, 2015 | by Jhumpa Lahiri
In memory of James Salter, who died last week, the Daily is republishing a series of essays from 2011, when Salter received The Paris Review’s Hadada Prize. In today’s piece, Jhumpa Lahiri writes about Light Years.
To learn more about Salter, read his 1993 Art of Fiction interview or one of his stories from the magazine: “Sundays” (1966), “Am Strande von Tanger” (1968), “Via Negativa” (1972), and “Bangkok” (2003) are available in full online.
For over half my life, I have returned repeatedly to Light Years. It was the first of James Salter’s books I discovered; it has since led me to all his others. Light Years is the one I know best. The first copy was borrowed. It belonged to my college roommate and was among the handful of books she’d brought with her from home, having nothing to do with our classes. It was a beautiful paperback published by North Point Press: yellow border, rough edges, thickly woven pages, a Bonnard painting on the cover. It was 1985. The book was ten years old; I was eighteen. I was new to New York, a freshman at Barnard College. I was unsophisticated, unmoored, bewildered by college and by the city. Reading the novel was like opening a window for the first time in spring, after a long winter has passed. Something worn out was set aside, something invigorating ushered in. Read More »
June 18, 2015 | by Maria Bustillos
Borges, Xul Solar, and the occult.
This story is an excerpt from To the Country, a new iBook album by The Size Queens featuring fiction by Joy Williams, Rick Moody, and more.
Lot 51, “The Aleph” by Alejandro Xul Solar, oil, minerals and metals on canvas, 32" x 44.25", 1930.
Xul Solar first painted the Aleph in 1930, but years were to pass before he and his friend J. L. Borges were able to make full use of its divinatory properties, even though it was clear from the moment the work was finished that the quasi-reptilian figure filling the image’s First Door, known to the two as Platon, was able to move freely about the canvas according to his own purposes (his skin in motion acquiring bluish-silvery reflected tints that faded in repose.) Experiments demonstrated that the viewer’s affinity with Platon and certain other figures in the composition resulted in an increased ability to understand and speak foreign languages (“babelismo”); subsequently other correspondences were revealed. Borges, whose middle finger Platon learned to reach out and grasp in a papery but very tight clutch, drawing a little more blood each time, was to prove the image’s most successful interpreter. Such was the lure of the mental enhancement thereby produced that Borges never failed to offer his hand to the painting, which was hidden in the dark recesses of Solar’s attic chambers, whenever the opportunity arose. In time the author’s left middle fingernail split in two with a thick dark pointed scar in its center. And as his inward sight grew keener, Borges’s physical vision commenced to fail: another price he gladly paid.
Solar made three more attempts to depict the Aleph. The second of the four (1931–33, tempera on wood panel, 112.5 x 78 cm) proved to offer the richest “prepotencies” as the visions came to be called. Impulsively, Solar gave the painting to Borges at the end of a somewhat maudlin and vinous evening full of French poetry and games of panjedrez, all of which Borges lost, just before the sun rose on a fragrant Buenos Aires bower in November of 1936. Solar’s diaries and sketchbooks reveal a keen regret over having made this gift, but being a proud man as well as a kind one, he never asked for its return. Read More »
June 4, 2015 | by Jeffery Gleaves
In Detroit, the Turners have lived on Yarrow Street for generations, and now their home is worth a mere tenth of its mortgage. Oh, and it’s haunted—it’s been that way for fifty years, since Cha-Cha, the oldest son of Francis and Viola Turner, was attacked by a haint one summer night. Angela Flournoy’s debut novel, The Turner House, set primarily in 2008, tells the Turner clan’s story as they tend to the elderly Viola and decide what to do with the family home.
Flournoy hangs the family’s personal struggles on the political history of Detroit, tracing their move from Arkansas to the bright industrial promise of midcentury Motor City, the electric environment of the 1967 riots, and the city’s long decline. “Lelah,” an excerpt from the novel in the Spring 2015 issue of The Paris Review, focuses on the youngest Turner child, whose gambling addiction takes her to Motor City, where she loses the last of her money on a game of roulette.
I met Flournoy near the Review’s offices in north Chelsea. I was late, and Flournoy, elegantly dressed and having just arrived from Detroit, had already enjoyed most of her coffee and was patiently talking on her cell phone. We discussed ghosts, gambling, and the blend of personal and political in her novel.
Your novel is full of Detroit history. Did you hear stories about it from your family?
I did a lot of research. One thing I remember hearing of the ’67 riot is that nobody knew what it was while it happened. Nobody knows that today is going to be the day a riot starts. A lot of people in Detroit actually called it an uprising. So I would apply the facts I learned in my research to a character’s life. Imagine you’re getting off work, or you’re at work, and things just feel weird. Then you hear that something’s happening across town, but no one knows what to call this thing, because no one knows how big it is. It’s more difficult for the individual to frame what’s going on as a whole, what’s happening outside of the details in the personal life. Read More »
June 1, 2015 | by The Paris Review
Our new Summer issue features work in and about translation. There’s a story from Andrés Neuman and a sneak peek at Michel Houellebecq’s controversial novel, Submission, plus poems by Coral Bracho, Xi Chuan, Radmila Lazić, and Iman Mersal. At its center are two interviews in our Art of Translation series—first with Richard Pevear and Larissa Volokhonsky, who have been married for thirty-three years and whose thirty-odd translations include The Brothers Karamazov, Crime and Punishment, War and Peace, Anna Karenina, and Chekhov’s Selected Stories. “Very naive readers think you take the Russian and you put it in English, and then you’re done,” Pevear says. Read More »