Posts Tagged ‘fiction’
November 26, 2015 | by The Paris Review
Call yourself a foodie? Put down that cider-brined drumstick and order your copy of our Winter issue, including our Art of Nonfiction interview with Jane and Michael Stern, whose pioneering Roadfood first got Americans thinking about regional cuisine:
Our grand idea was to review every restaurant in America, which seemed like a really easy thing to do, considering neither of us had ever been anywhere … We just opened a Rand McNally map and said, Piece of cake. Three years later, we were still on the road.
Then there’s our interview with Gordon Lish, in which the editor of Raymond Carver, Don DeLillo, Joy Williams, Barry Hannah, and Harold Brodkey explains how he’s able to tell “shit from Shinola”:
I’ve got the fucking gift for it. Instinct, call it … I don’t go along—but am furious when others don’t go along with me. How can they not revere what I revere? How is it that my gods are invisible to them? It’s inexcusable but, of course, wretchedly expectable. Am I a zealot, a terrorist, out on my own limb? Yes, with a vengeance!
You’ll also find lost translations from Samuel Beckett; new translations by Lydia Davis; new fiction from Lydia Davis, Nell Freudenberger, Andrew Martin, Christopher Sorrentino, and David Szalay; the third installment of Chris Bachelder’s comic masterpiece The Throwback Special; poems by Anne Carson, Henri Cole, Jeff Dolven, Mark Ford, Kenneth Irby, Maureen N. McLane, Sharon Olds, and Jana Prikryl; and a portfolio of Richard Diebenkorn’s sketchbooks.
Get your copy now. And remember that a subscription to The Paris Review makes a great gift—especially when it comes with a free copy of our new anthology, The Unprofessionals. At just $40, it’s the best holiday deal around.
November 3, 2015 | by Jonathan Lee
Andrés Barba’s August, October, now translated from the Spanish by Lisa Dillman, should bring him the wide Anglophone readership he’s long deserved. The novel follows the fourteen-year-old Tomás as he travels to the coast with his affluent family on their summer vacation. He’s at a point in his life when everything feels distant and strange: friendships, sex, the alluringly lawless behavior of the lower-class kids he meets. Tomás ends up becoming complicit in the sexual assault of a local girl, the central event from which the narrative unspools, and back in Madrid, assailed by guilt, he tries to plot a path toward atonement—one that shines at times with an uneasy air of self-interest. The reader becomes trapped in a story of immaturity and transgression that leaves no room for the usual reassuring tropes of coming-of-age novels. The prose moves on constant commas, swaying between arousal and revulsion, and in its subject matter August, October brings to mind the early work that earned Ian McEwan the nickname “Ian Macabre”: First Love, Last Rites; The Cement Garden.
Barba is the author of twelve books in Spanish. Besides literary fiction he has written essays, poems, books of photography, books for children, and translations of De Quincey and Melville. We discussed his obsession with aloneness, the difficulties of capturing Moby-Dick in Spanish, and why certain “pompous utterances” in literature are “only useful insomuch as Justin Bieber can get them tattooed across his ass.” Barba is fluent in English, but felt more natural discussing his craft in Spanish. Cecilia Ross kindly translated his answers. Read More »
October 29, 2015 | by Henry Giardina
Melmoth the Wanderer and the bizarre appeal of gothic horror.
I have long been a rather reluctant fan of gothic horror. The reluctance comes from never quite knowing if it’s a genre worth caring about. How well, really, do any of my favorite works hold up? Is The Castle of Otranto actually good, or just campy? Is The Monk great literature? Probably not—but as genres go, there’s none quite so pleasingly ridiculous as this one.
Gothic horror usually revolves around the sinister absence of God inside some religious framework. These are stories that couldn’t exist outside a culture obsessed with sin and hellfire, and yet they’re not morality tales: the only lesson to be drawn from most gothic romances is that the supernatural can be easily substituted for the divine. Any benefits to leading a religious life seem to be completely erased in these stories, with paranoia and persecution complexes to take their place. There seems barely time to contemplate the afterlife when everyone’s so busy trying to escape the traps laid for them on earth—traps set by heredity and fate. The “good” characters are, for the most part, idiots: foolish clergyman, one-dimensional lovers doomed to die horrible (sometimes cannibalistic) deaths, and so on. The only character with any power of personality happens, more often than not, to be the devil himself.
This is especially true of Charles Maturin’s Melmoth the Wanderer, a shapeless tale of transformation, loneliness, and evil as shown in complete isolation from good. Maturin, an Irish clergyman and great-uncle to Oscar Wilde, wrote the book in 1820, at the height of the vogue for gothic romance. By the end of the nineteenth century, the book had taken on cult status. Baudelaire adored it. Balzac wrote a sequel to it. Wilde himself, after being released in disgrace from Reading Gaol, based his entire identity around his uncle’s story, renaming himself after its hero, Sebastian Melmoth. What was it in the story that spoke to them so deeply? Read More »
October 26, 2015 | by Dan Piepenbring
Hawthorne’s scariest story.
“Even his bright gildings,” Herman Melville once wrote of Nathaniel Hawthorne, “play upon the edges of thunder-clouds.” This was in “Hawthorne and His Mosses,” an 1850 appreciation in which Melville reputed the notion that Hawthorne, fifteen years his senior, was merely “a sequestered, harmless man”:
this great power of blackness in him derives its force from its appeals to that Calvinistic sense of Innate Depravity and Original Sin, from whose visitations, in some shape or other, no deeply thinking mind is always and wholly free … At all events, perhaps no writer has ever wielded this terrific thought with greater terror than this same harmless Hawthorne … this black conceit pervades him, through and through.
In the reductive churn that comes with canonization, this “black conceit” seems to have washed off Hawthorne—Melville’s nickname for him, “the Man of Mosses,” hasn’t exactly stuck. We have better Moss People: your Poes, your Lovecrafts, your Shelleys and Stokers. Hawthorne, the thinking goes, is too puritanical to be truly spooky. (Imagine the groans you’d get from reading a bit of The Scarlet Letter around a late October campfire.) But his story “The Ambitious Guest” is scarier than anything in Poe, and its dark romanticism makes no recourse to haunted houses, death masques, black cats, supernaturally sustained heartbeats, or any other genre trope. It’s just about a weary traveler and a nice family who open their home to him. Read More »
October 23, 2015 | by Sadie Stein
A friend drew my attention to a news story. It concerned the German-born footballer Bastian Schweinsteiger and his lawsuit against a Chinese company. It seems the company, Dragon in Dream, is selling a doll that bears a more than passing resemblance to the Manchester United midfielder. The suit may sound frivolous, but check out the side-by-side comparison. Also, there’s this:
The figurine comes in several outfits—including a version with a steel helmet, white winter jacket and woollen gloves, and another in a typical army uniform, complete with the “Wehrmachtsadler” insignia, an eagle with a swastika above the right breast pocket.
October 23, 2015 | by Kathleen Alcott
At the table with James Salter.
“To revisit the past was like constantly crossing some Bergschrund,” James Salter writes in the introduction to his 1997 memoir, “a deep chasm between what my life had been before I changed it completely and what it was afterwards.” As it did through his life, an ineludible divide runs through Salter’s work. The same man who gave us great novels and stories of sport, of war and deprivation, produced some of the twentieth century’s most sumptuous meditations on domestic life, on the rituals at the heart of bonding. To read him in both modes is to pace the fullness of Salter’s emotional life—it is akin to entering a room full of people after completing some feat of endurance, a vow of silence or a rigorous fast, and trying to hear every word. What unites Salter’s oeuvre—more than his triumphs of style, the peculiar manipulations of perspective, and the verbless descriptive clauses—is his preoccupation with meals and all that they represent, all they can give and all they can take away.
In 1957, with his first book already published, Salter left the Air Force to become the novelist that he knew he was. As his identity was transformed—from fighter pilot to fiction writer, from that of struggle within the military complex to the isolation he encountered outside of it—so were his novels and stories. Food’s role in them increasingly became a metric for the emotional lives of his characters, who were either driven by the rejection of home or by some elaborate performance that kept the idea of home intact. The dinner table, Salter understood, was the perfect stage for the frailty of our relationships—how we present ourselves to others, how crucial to our sense of self are the recollections of the friends who saw us become the people we were. A much-cited quotation from Light Years perhaps most perfectly encapsulates his feelings about life in the air as a pilot and on the ground as a family man: “Life is weather. Life is meals.” Read More »