Posts Tagged ‘interviews’
September 14, 2016 | by The Paris Review
Join Terry McDonell, president of The Paris Review’s board of directors, next Monday, September 19, at 92Y, as he discusses his new memoir, The Accidental Life: An Editor’s Notes on Writing and Writers, with Vanity Fair’s Graydon Carter. Tickets are available now.
Terry boasts a daunting résumé: he’s worked at Rolling Stone, Newsweek, Esquire, Smart, Outside, and Sports Illustrated. The Accidental Life chronicles his career at some of America’s most influential magazines. “Every time I run into Terry McDonell,” Jeffrey Eugenides writes, “I think how great it would be to have dinner with him. Hear about the writers he’s known and edited over the years, what the magazine business was like back then, how it’s changed and where it’s going, inside info about Edward Abbey, Jim Harrison, Annie Proulx, old New York, and the Swimsuit issue. That dinner is this book.”
September 13, 2016 | by The Paris Review
On the shortlist for this year’s Man Booker Prize are two of The Paris Review’s Plimpton Prize winners, Ottessa Moshfegh and David Szalay. Szalay is nominated for his novel All That Man Is, two sections of which first appeared in the Review: “Youth” and “Lascia Amor E Siegui Marte.” In our last issue, he talked to our editor, Lorin Stein, about writing All That Man Is. The two will convene again for a discussion at McNally Jackson Books on Friday, October 14.
Moshfegh, nominated for her novel Eileen, has published seven short stories in the Review: “Disgust,” from our Fall 2012 issue; “Bettering Myself,” from Spring 2013; “The Weirdos,” from Fall 2013; “A Dark and Winding Road,” from Winter 2013; “Slumming,” from Winter 2014; “No Place for Good People,” from Summer 2014; and “Dancing in the Moonlight,” from Fall 2015.
And Paul Beatty, whose novel The Sellout made the shortlist, discussed the book at length in an interview last year with the Daily.
Meanwhile, the National Book Awards have announced this year’s poetry longlist, and here, too, the Review is well represented: Peter Gizzi has three poems in our Spring 2015 issue and Monica Youn’s “Goldacre” appeared in our Summer 2016 issue; for the Daily, Youn wrote about what she refers to as “my Twinkie poem.” Solmaz Sharif spoke to the Daily this summer about her collection, Look. Finally, our poetry editor from 1953 to 1961, Donald Hall, has been nominated for his Selected Poems.
Our congratulations to all the nominees!
September 6, 2016 | by Matthew St. Ville Hunte
I had been out of college for a couple years when a friend got me a gig studying the “socially displaced.” This wasn’t as lofty as it sounds; what I really did was spend a couple months going around asking bums about their problems. The arrangement was fairly straightforward: they’d give me their stories and I’d give them a dollar. So I spent a few days roaming Castries—the capital of Saint Lucia—with a cheap recorder and a heavy bag of coins, tracking the street people and hoping a few would talk to me.
I’ve never been great at interviews, mainly because I don’t like bothering people, including vagrants. I felt like I was invading their private space, which I sort of was. But surprisingly some of them were willing to tell me their life stories even without the promise of money. They had nothing better to do—and clearly neither did I. Read More »
August 24, 2016 | by Dan Piepenbring
Jean Rhys was born in Dominica, an island among the British West Indies. Though she spent most of her life in England, her time in the Caribbean left her with a distinctive, lilting accent. It sounds beautiful to me, but in 1909 it got her kicked out of the Academy of Dramatic Art in London, where she was supposedly “slow to improve” it. In this minute-long clip, she dispenses some dour wisdom about writing and happiness. (The rumors are true: they’re inversely related.) If you don’t have a pair of headphones handy—or if you’re just paralyzed with fear at the thought of hearing a deceased person’s voice—here’s a rough transcript: Read More »
August 1, 2016 | by Dan Piepenbring
Because your summer is a never-ending slog and all your beach reads have disappointed you, we thought you’d want to peruse these two interviews from our Spring issue. Once available only to subscribers, they’re now available to everyone, everywhere. No need to thank us. (Unless you want to subscribe.)
August 1, 2016 | by Dan Piepenbring
- Today in age-old arguments about the creative life: “In some annexes of the writing community it’s been playfully termed the ‘pantsing vs. plotting/outlining/planning’ debate. Pantsers fly by the seats of their pants: they write and see where it takes them. Planners, well, plan before they write … There is evidence that when readers read stories, they identify with the characters and do much the same thing. It may be the case that pantsers engage in this kind of imaginative and empathic recreation when they tell stories, which is precisely why they cannot plan. They have to tell the story in order to know its contours and structure. They have to place themselves in the minds of the characters and then simulate what the characters do … These writers work by faith that their emotions channel into words a latent object which will later prove to possess a structure.”
- Stop me if you’ve heard this one before—a well-known American novelist sits down for an interview, and he says, “I don’t have very many black friends. I have never been in love with a black woman. I feel like if I had, I might dare [to write about race] … I feel it’s really dangerous, if you are a liberal white American, to presume that your good intentions are enough to embark on a work of imagination about black America. I am particularly vigilant there. I have thought about it—you know, race is big in America.”
- When Lucia Berlin died in 2004, she left behind the makings of a memoir, including a long story about traveling through Mexico with Buddy Berlin, a saxophonist with a heroin problem: “First, Peggy sent a little box with a dozen vials of pure morphine. ‘A little something for Bud.’ Peggy lived alone in a fabulous house on top of the hill. She spent much of her day looking through a powerful telescope, checking the beach for arrivals of famous people to invite up to her house, checking out everything else going on. She must have seen the boys playing soccer with village boys, riding horseback on the beach, going upriver with Juanito to help his father pick coffee. She must have seen them racing canoes, heard their laughter echoing above the water. She must have seen us talking with friends in our beautiful garden, lying on the beach. She must have seen Buddy and me kiss, must have seen us happy. How could she send that box?”
- Our puzzle correspondent, Dylan Hicks, has vouched early and often for the joys of hink pink, “a word game in which synonyms, circumlocution, and micronarratives provide clues for rhyming phrases.” His advocacy has led to a paradigm shift among puzzle enthusiasts who also read literary magazines: at The Cincinnati Review, Michael Griffith has written some hink pinks of his own. (Personal favorite: “Internet discussion board for boosters of an ex-Pennsylvania senator and presidential candidate,” which can only be “Santorum forum.”)
- In what many “content providers” probably regard as “the good old days,” fans were more or less powerless—if they didn’t like whatever schlock the major entertainment conglomerates were churning out, their only recourse was a letter-writing campaign. But things are different now, and this year the fans have demanded to be heard. As Elizabeth Minkel writes, “For the past few months, people have been debating whether fandom is ‘broken’ … Fans have always talked back, but prior to social media they weren’t even a fraction as visible as they are today. We’re witnessing the destruction of the fannish fourth wall in real-time: fans and creators are now seeing each other clearly on a massive scale, and creators are unsure how to—or if they even should—listen to fans.”