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Posts Tagged ‘Hilary Mantel’

Atticus Lish Wins Plimpton Prize; Mark Leyner Wins Terry Southern Prize

March 3, 2015 | by

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Left, Atticus Lish; right, Mark Leyner

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?)

Now in Bloom: Our Spring Issue

March 2, 2015 | by

212The cherry blossoms on the cover of our new Spring issue augur the end of winter—even if they’re made of paper. They’re part of a portfolio by Thomas Demand, accompanied by poems from Ben Lerner.

We also have the first-ever in-person interview with Elena Ferrante, on the art of fiction:

As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me … At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them … Even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men.

And Lydia Davis, on her approach to the short story, to translation, and to naming:

I’ve always felt that naming was artificial. I’ve done it. I wrote about one woman and called her Mrs. Orlando, because the woman I based her on lived in Florida. Recently I wrote a story called “The Two Davises and the Rug” because I have a neighbor named Davis and he and I were trying to decide which one should end up with a certain rug, and I was very fond of using that name, even though it wouldn’t make much difference to anybody if I called it “The Two Harrises and the Rug.”

Plus, Hilary Mantel discusses her Cromwell books and the difference between historians and novelists:

Nobody seems to share my approach to historical fiction. I suppose if I have a maxim, it is that there isn’t any necessary conflict between good history and good drama. I know that history is not shapely, and I know the truth is often inconvenient and incoherent. It contains all sorts of superfluities. You could cut a much better shape if you were God, but as it is, I think the whole fascination and the skill is in working with those incoherencies.

There’s new fiction by Angela Flournoy, Ken Kalfus, and Mark Leyner, the winner of this year’s Terry Southern Prize; a novella by James Lasdun; and poems from Charles Simic, Peter Gizzi, Major Jackson, Stephen Dunn, Susan Stewart, Shuzo Takiguchi, Craig Morgan Teicher, and Sarah Trudgeon.

Mel Bochner, who designed a cover for the magazine back in 1973, is back with a portfolio of thesaurus paintings. And last, there’s “Letter from the Primal Horde,” an essay by J. D. Daniels about a fateful experience at a group-relations conference.

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The Art of Paños, and Other News

February 9, 2015 | by

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Photo: Reno Leplat-Torti / Paños Chicanos, via Vice

  • Wackford Squeers, Peg Sliderskew, Charity Pecksniff … the names of characters in Dickens novels are outré enough to put Thomas Pynchon to shame.
  • Relatedly: naming one’s characters is arguably the fiction writer’s most critical task. “I make up names for people all the time—it’s part of writing. Very often, the name comes with the character, along with of a sense of who they are and what they do … All names are masks, as well as identifiers.”
  • For her services to literature, Hilary Mantel—with whom we’ll feature an Art of Fiction interview in our next issue—has been made a dame.
  • Early in the twentieth century, an unlikely duo developed the first mechanistic theory of the mind: Warren McCulloch, “a confident, gray-eyed, wild-bearded, chain-smoking philosopher-poet who lived on whiskey and ice cream and never went to bed before four a.m.,” and Walter Pitts, “small and shy, with a long forehead that prematurely aged him, and a squat, duck-like, bespectacled face.” They asserted that the brain “uses logic encoded in neural networks to compute.”
  • Finally, without further ado: Mexican prison art. “The tradition of paño (from the Spanish ‘pañuelo,’ which means ‘handkerchief’ ) began in the correctional facilities of Western American States sometime in the 1940s. At the time, decorating handkerchiefs was the only way for illiterate Mexican prisoners to communicate with the outside world. To this day, paños are still often sent to friends and family instead of letters, while, in certain prisons, the handkerchiefs are a popular form of currency.”

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Bring Up the Bodies

January 13, 2015 | by

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Photo: Golden Globes

Last night—or early this morning, I guess, around four A.M.—I woke up from a dream. I’d been reading a Hilary Mantel novel and watching red-carpet recaps before bed, and the two apparently melded in my brain in the most literal way imaginable. In my dreams, Thomas Cromwell attended the Golden Globes. Or Mantel chronicled them. I’m not sure which—but this is how it went down. 

It is the awards season. Lupita in silks and nosegays, Felicity stately in Dior. Photographers line the strip of crimson worsted like so many starlings on a line: here a Michael Kors, here a Givenchy. Lacquered hosts prattle now of jewels, now with furrowed brow of news from abroad.

“Alchemy,” says George Clooney, boyish and urbane. He is at his ease, of a mind to talk of brass rings and love.

Kevin Spacey is at the podium, eyes narrowed in a mockery of evil, bent on revenge. Jeremy Renner stands at his ease and leers, “You’ve got the globes, too.” 

Virgins win, and Birdmen. 

Cromwell stands with the others and prices the finery, an old habit not easily lost.

“There was a time,” he says, “when the carpets were not ruled by the stylists. There was Marlee Matlin then, and Bonham-Carter. We knew risk then, and yes, folly, too. I saw once a woman dressed in the plumage of a swan.”

And around him, etched in jewels, he sees the motto: “Je suis Charlie,” they say. “I stand with France.”

Dear Critics: You Heard It Here First

January 13, 2015 | by

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Illustration: Samantha Hahn

Although Rachel Cusk’s Outline has not been available in hardcover until today, it’s already enjoyed a wild succès d’estime with some of our favorite critics. Last Wednesday, in the New York Times, Dwight Garner called it “transfixing … You find yourself pulling the novel closer to your face, as if it were a thriller and the hero were dangling over a snake pit.” In The New Yorker, Elaine Blair used Outline as the occasion for a trenchant essay on fiction and autobiography:

The novel is mesmerizing; it marks a sharp break from the conventional style of Cusk’s previous work … Cusk’s insight in Outline is that, instead of trying to show two sides of a marriage, she might do the opposite: focus on the inevitable, treacherous one-sidedness of any single account [which] surely has something to do with why marriages themselves come apart.

In the Guardian, Hilary Mantel described Outline as “fascinating, both on the surface and in its depths.” Bookforum’s Hannah Tennant-Moore called it “lovely … smart, ascetic”; and in the most recent New York Times Book Review Heidi Julavits raved: “Spend much time with this novel and you’ll become convinced [Cusk] is one of the smartest writers alive.”

None of this will come as news to readers of The Paris Review—because, starting with our Winter 2013 issue, we published Outline in its entirety, with exclusive illustrations by Samantha Hahn. Here’s a slide show to celebrate the U.S. hardcover publication, and to remind our colleagues in the reviewing business where they can find the most transfixing, mesmerizing, fascinating, lovely fiction of 2016.

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“All They Do Is Eat,” And Other News

April 29, 2013 | by

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  • “It’s about eating lunch. They eat salad and cake. All they do is eat”: in which a two-year-old judges books by their covers.
  • “He tends to devoice a lot of the fricatives, but I take that purely as an idiolectal variant”: an (in-depth) interview with the linguist who created Game of Thrones’ multiple languages.
  • Fifty authors, including Hilary Mantel, Tom Stoppard, and John Banville, have contributed annotated first editions to an English PEN auction. Which is to say, they can (theoretically) be yours.
  • The Henry Miller Memorial Library decamps temporarily to Miller’s hometown of Brooklyn for the Big Sur Brooklyn Bridge festival.
  • Ishiguro on film, Tóibín on opera: six novelists on their second-favorite art forms.

 

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