Posts Tagged ‘Issue 210’
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 12, 2014 | by Dan Piepenbring
Our current issue features Atticus Lish’s story “Jimmy,” an excerpt from his new novel, Preparation for the Next Life. The novel is out this week, and we’re elated to report that it’s just received a rave review from Dwight Garner in the New York Times:
This is an intense book with a low, flyspecked center of gravity. It’s about blinkered lives, scummy apartments, dismal food, bad options. At its knotty core, amazingly, is perhaps the finest and most unsentimental love story of the new decade … Atticus Lish has written a necessary novel, one with echoes of early Ken Kesey, of William T. Vollmann’s best writing and of Thom Jones’s pulverizing short stories.
October 29, 2014 | by Dan Piepenbring
I’m delighted to hear from Bob that you have undertaken an interview with Henry Green. I meant to write you last spring that I had tea with him in London—with his wife, some others, and Christopher Logue, that frenetic poet whom you may remember from Paris and who worships Green and begged to be taken along. Well, he was, and there was Green in a double-breasted black business suit going under the name York (sic), talking like a businessman from Manchester, with an anecdote or two, terribly long—one, as I remember, about a seal two old ladies found on a beach near Brighton and nursed back to health in their bathtub, the point of the story being that in England alone could such a thing happen. Logue kept darting looks at the door, for Green, I guess, and making side remarks of incredible rudeness to York. When we left, Logue asked: “Jesus, who the fuck was that guy on the sofa.” “Henry Green,” I said.
—George Plimpton, from a letter to Terry Southern, 1957
Ever since I read that letter (plug: it’s from our Fall issue) I’ve had Henry Green’s seal anecdote on my mind, mostly in light of the many questions it raises: How did those old ladies transport the seal? What was entailed, exactly, in nursing it back to health, and how did they know it was well again? Did they keep it as a pet afterward?
I fear the answers are lost to the ages.
As Plimpton tells it, Green wasn’t very stimulating company, but—given what I know of his persona, and the intense affinity I feel for his seal story—I can think of few writers I’d rather spend an afternoon with. I envision us puttering around his family’s pipe factory in Birmingham, perhaps checking various gauges, with Green in his business suit, his hands clasped behind his back, carrying on a kind of tour-de-force monologue all the while, losing his place and opening several series of parentheses with no intention of closing them. Listening to Green hold forth, I imagine, was probably a lot like reading him: an enlightening, exhilarating, and not infrequently exhausting experience. Read More »
October 15, 2014 | by Dan Piepenbring
You may well have seen that our new Fall issue features a loping and very funny editorial exchange between George Plimpton and Terry Southern, one that captures both men at the height of their wit—and especially Southern’s, shall we say, distinctive style on the page. (“Yes, it’s true I’ve a rather crackerjack interview with good Hank Yonge tucked away in the old jock-strap, and naturally I’m eager to see it get the sort of dignified dissemination its merit does warrant,” a not-atypical sentence goes.)
The Review has published a lot of Southern over the years. Issue 138, from Spring 1996, has a particularly rich cache of what the man himself might call “Quality Lit,” not just by Southern but about him. It is, essentially, a Terry Southern memorial: when Southern died in October 1995, Plimpton and the staff collected some of his unpublished work and a series of remembrances in his honor. Among the tribute are four pages from an unfinished screenplay, which we’ve reproduced below. It’s just enough to make you wish he’d seen the thing through, and just enough to make you wonder what the hell the movie would’ve actually been about. Skeet shooting? Drug-addled romantics? The French?
As a salute to Southern, who died nineteen years ago this month, for the rest of October we’re offering copies of Issue 138 for only fifteen dollars—fifty percent off the regular price. The issue features an essay by Southern, an interview with him, and remembrances by William Styron, George Plimpton, and Henry Allen. There’s also of course a glut of material having nothing to do with Southern whatsoever, if that’s more your thing: fiction by Junot Diaz and Milan Kundera, interviews with Richard Price and Billy Wilder, poetry galore, et cetera, et cetera. Get a move on!
September 23, 2014 | by Dan Piepenbring
An anecdote about censorship, since it’s Banned Books Week. Readers of today’s TPR know that our writers cuss with all the relish of a splenetic sailor who’s just stubbed his toe on shore leave. But such was not always the case. The magazine’s earliest editors were leery of salty language, and Terry Southern never forgot it.
Our latest issue features an editorial exchange between Southern and George Plimpton from 1958, when they were preparing Southern’s interview with Henry Green for publication. That interview features a now-classic aperçu from Green about the origin of his novel Loving:
I got the idea of Loving from a manservant in the Fire Service during the war. He was serving with me in the ranks, and he told me he had once asked the elderly butler who was over him what the old boy most liked in the world. The reply was: “Lying in bed on a summer morning, with the window open, listening to the church bells, eating buttered toast with cunty fingers.” I saw the book in a flash.
As Southern wrote to Plimpton, “Hot stuff, eh George? Well now you realize of course that the word ‘cunty’ makes the reply, gives it bite, insight, etc. I mean to say it simply would not do to rephrase it, ‘Lying in bed on a summer morning, with the window open, eating toast with fingers,’ would it?” Read More »
September 2, 2014 | by The Paris Review
You may recognize the distinctive hand behind our autumnal cover art—that’s Chris Ware, who’s interviewed in this issue about the Art of Comics:
I just figured there must still be various ways to make art “about” something without making it bad or sentimental. Comics basically seemed a way toward this goal for me … I think cartooning gets at, and re-creates on the page, some sixth sense—of space and of being in a body—in a way no other medium can quite so easily, or at least so naturally.
Then there’s our interview with Aharon Appelfeld:
My nights are a nightmare, quite often, but the nightmares are rich—rich in human behavior, rich in feelings, rich in sensations. I nourish myself by those nights. They nourish me.
And in the Art of Fiction No. 225, the Nobel Prize–winner Herta Müller discusses her early fascination with plants (“They knew how to live and I didn’t”), life under Ceauşescu, and her approach to the sentence:
I’m not hungry for words, but they have a hunger of their own. They want to consume what I have experienced, and I have to make sure that they do that … The language knows where it has to wind up. I know what I want, but the sentence knows how I’ll get there.
There’s also an essay by David Searcy; the final installment of Rachel Cusk’s novel Outline, illustrated by Samantha Hahn; fiction by David Gates, Atticus Lish, and Alejandro Zambra; and poems by Karen Solie, Stephen Dunn, Maureen M. McLane, Devin Johnston, Ben Lerner, Frederick Seidel, Linda Pastan, and Brenda Shaughnessy.
And finally, a portfolio of letters between George Plimpton and Terry Southern, circa 1957–58, in which Southern writes of this magazine, “[its] very escutcheon has come to be synonymous (to my mind at least) with aesthetic integrity, tough jaunty know-how, etc.”
Get yourself some of that integrity and know-how—subscribe now!