Posts Tagged ‘Jeff Dolven’
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.
December 1, 2014 | by The Paris Review
That photo on the cover comes from Marc Yankus, whose subject is New York buildings: “I can feel the brick, I can feel the hardness and the corners of the building ... the structure, the monolith, the sculpture, the abstract.”
In the Art of Memoir No. 2, Vivian Gornick talks about feminism, bad reviews, love versus work, and coming to terms with failure:
I knew I had to stay with it as long as it took to write a sentence I could respect. That’s the hardest thing in the world to do—to stay with a sentence until it has said what it should say, and then to know when that has been accomplished.
And in the Art of Screenwriting No. 5, Michael Haneke reveals the imaginative process behind movies like The White Ribbon and Amour—and why there are no “right” readings of his films:
I would never set out to make a political film. I hope that my films provoke reflection and have an illuminating quality—that, of course, may have a political effect. Still, I despise films that have a political agenda. Their intent is always to manipulate, to convince the viewer of their respective ideologies. Ideologies, however, are artistically uninteresting. I always say that if something can be reduced to one clear concept, it is artistically dead.
There’s also a special triple feature on Karl Ove Knausgaard, with an exclusive excerpt from My Struggle, Book 4; an essay on depression and Dante’s hell; and an exchange with The New Yorker’s James Wood on masculinity and good reasons for writing badly.
Plus new fiction by Joe Dunthorne, Ottessa Moshfegh, Sam Savage, and Saïd Sayrafiezadeh; poems from Sylvie Baumgartel, Jeff Dolven, Cathy Park Hong, Phillis Levin, Jana Prikryl, Frederick Seidel, and Brenda Shaughnessy; and a series of aphorisms by Sarah Manguso.
Get your copy now. And may we add that a subscription to The Paris Review makes a great present? The recipient will receive a postcard announcing your gift with your personal message. Just select the “gift” option when you check out.
September 3, 2013 | by Jeff Dolven and Lorin Stein
During his five-decade career as a poet, the late John Hollander was a frequent contributor to The Paris Review. He was also renowned as a scholar and critic. Here he is remembered by two former students, our contributor Jeff Dolven and editor Lorin Stein.
John Hollander once told me a story that served him as a kind of ur-scene of explanation. As a boy he was sitting with his father at the breakfast table, and he asked, apropos of nothing he could later recall, “Dad, what is a molecule?” By way of an answer, his father reached into the sugar bowl and lifted out a cube.
“So what is this?” his father asked.
“Sugar,” said John. Next his father set the cube down on the table and rapped it sharply with a teaspoon, so that it broke into coarse crystals.
“And what is it now?”
“Sugar,” said John again.
“Well then,” said his father, “a molecule is the smallest piece of sugar you can get that’s still sugar.” The grown-up John delivered the last sentence like a punchline, laughing and widening his eyes and spreading his hands. Read More »
February 24, 2012 | by Lorin Stein
More than the other seasons, spring is a state of mind. As you know, it can strike in the dead of winter or go AWOL all April and May. It is the season of initiation, of mysteries, when the evening lengthens and spreads out before us and we are filled with irrational hope. Or not, and we feel its absence: spring is no longer for us. “I am a man of fortune greeting heirs; / For it has come that thus I greet the spring.” We all know about April being the cruelest month; Rodgers and Hart put it more succinctly: “Spring is here, / I hear.”
We all have our favorite greatest hits (you can’t call a spring poem a chestnut): Deirdre likes William Carlos Williams’s “Spring and All,” e.e. cummings’s poem beginning “in / Just spring,” and Emily Dickinson’s “A Light exists in Spring.” Sadie loves Elizabeth Bishop’s “In Early Spring” and the Dickinson poem that starts “A little Madness in the Spring / Is wholesome even for the King” (though she admits it gets “a little odd” as it goes along). Stephen plumps for “Fern Hill,” on the sensible grounds that it concerns “the spring of life.”
The poem that occurs to me is “Les Chercheuses de Poux,” by Arthur Rimbaud. Here it is in Wyatt Mason’s translation, which magically preserves some of the strangeness and sensuality of the original:
When the child's forehead full of red torments
Begs the white swarm of vague dreams
To take him, two charming sisters loom
Above his bed, with fragile fingers and silver nails.
They sit him before a window opened wide
Where a jumble of flowers bathes in blue air,
And then, bewitching and terrible, the delicate fingers
Walk through his heavy, dew-matted hair.
He listens to the song of their uneasy breath,
Long earthy blossoms of rose-rich honey
Interrupted now and then by a salivary sucking,
Tongues licking lips, hungry for a kiss.
He hears their black lids bat beneath
The scented silence, their gentle pulsing fingers
Kill little lice beneath royal nails crackling
Sounds resounding through his gray stupor.
But the wine of Sloth is rising in him,
A harmonica's sigh that sets you reeling;
Beneath the slowness of their caresses, the child
Feels an urge to cry, welling and dying, endlessly.
We also polled a few friends from outside the office: the aforementioned Wyatt Mason; Molly Murray, who is lecturing on Shakespeare at Columbia; Jeff Dolven, who happens to be doing the very same thing at Princeton (and has two poems in our last issue); and Kira von Eichel, whose child was falsely accused this week of having lice—and who recruited her mother, Linden von Eichel, in the cause.
Wyatt chose a poem by Frederick Seidel, from issue 194. He writes: “I hope you won’t argue that it isn’t a spring poem. Spring is coupling, so a spring poem must be in couplets. Spring is song, so a spring poem must rhyme. Spring is light, so a spring poem is lit from within. Spring is nice weather, so ‘Nice Weather’ is spring. And don't tell me I’m being tautological. I don’t know what that means.” Read More »
September 6, 2011 | by Sadie Stein
It avails not, neither earthquake nor hurricane nor suspended subway service— The Paris Review comes out on time. It’s a doozy, if we say so ourselves, and not to be missed. Subscribe now, or renew, and receive a limited-edition Paris Review café au lait cup. You can sip in style while you enjoy a full year of fiction, poetry, and prose.
In the fall issue:
Nicholson Baker discusses the pleasures of writing smut:
Sexual arousal itself is a kind of drug. It has also turned out to be one of the few plots I can actually handle. If I imagine a man and a woman talking, and I know that later on they’re going to be taking some of their clothes off, that pulls me merrily along ... The basic boy-meets-girl plot in which they talk a little bit and then they have some kind of slightly bizarre sex—that plot I can do. Other plots are harder.
So many children—most of them obnoxious-looking. It’s a fact: 99 percent of all photographs ever taken have little brats in them. Mugging, leering, pushing one another. Wielding fearsome Betsy Wetsy 147 dolls. Pouting in pajamas on the floor over unsatisfactory Christmas presents. Prancing egotistically. The sort of kids that Wittgenstein, back when he was a mean, half-demented schoolmaster in the Austrian Alps or wherever it was—long before Cambridge and the Tractatus—would have walloped upside the head and thrown in the snow. How is it, indeed, that I have so many of them? More, even, than Joyce Carol Oates has written novels. And not one, needless to say, did I get for free.
Geoff Dyer on Tarkovsky. Lydia Davis on translating Flaubert. The Dennis Cooper interview. Fiction by Roberto Bolaño and newcomer Kerry Howley. Poems by Sharon Olds, Brenda Shaughnessy, Constantine P. Cavafy, Paul Muldoon, Jeff Dolven, Meghan O’Rourke, and Forrest Gander.