Posts Tagged ‘kristin dombek’
August 25, 2015 | by The Paris Review
This November, we’re publishing our first anthology of new writing in more than fifty years. The Unprofessionals: New American Writing from The Paris Review features thirty-one stories, poems, and essays by a new generation of writer. It’s a master class, across genres, in what is best and most alive in American literature today.
Take a look at the cover and you’ll recognize names such as John Jeremiah Sullivan, Atticus Lish, Emma Cline, Ben Lerner, and others who have become emblematic of a renaissance in American writing. Although these are younger writers, already any history of the era would be incomplete without them. At a moment when it’s easy to see art as another product—and when writers, especially, are encouraged to think of themselves as professionals—the stories, poems, and essays in this collection have no truck with self-promotion. They turn inward. They’re not afraid to stare, to dissent, or even to offend. They answer only to themselves.
In the coming months, we’ll reveal more about the anthology, which Akhil Sharma calls “the best possible introduction to the best literary magazine we have.” Stay tuned!
March 11, 2015 | by Dan Piepenbring
- The artist Tim Youd is retyping Lucky Jim, word by painstaking word, in public at the University of Leicester, on an Adler Universal typewriter—the same model Kingsley Amis used. “I’ve read everything before I retype it, so the suspense is gone. The appreciation happens on a deeper level. I get to examine the structure, the style in the course of the most active form of reading … At its heart, the performance is a devotional exercise. It is an extreme, perhaps slightly absurd dedication to the author’s words.”
- Post-Internet poetry takes for granted that the Web, as a medium, can inspire and inform a poem—it doesn’t make a show, that is, of turning the poet into a kind of DJ, “weaving together samples of preexisting language into something unique. Of course, this is nothing new. The cento—snagging lines from other poems to make your own—has been around for nearly two millennia. But what’s new is [the] use of Google as an oracle, the results from which are strained through [one’s] own subjectivity, leading to poems that are at once organic and mechanical, personal and, in a sense, objective.”
- “More than 300 million people live here, and they had descended over the course of a very few generations from a huge number of disparate cultures, with different histories, ways of behavior, worldviews, and experiential backgrounds. All of them, sooner or later, had been required to relinquish their old culture and enter the new one. That must be why the most striking thing about the United States was its sameness … And that must be why every American movie was made after the same template and why, in this sense, every movie expressed the same thing. And that must be why all these TVs were hanging on the walls, unwatched; they created an immediate sense of belonging, a feeling of home.” Knausgaard’s travels in America continue.
- Kristin Dombek on Kim Gordon and Sonic Youth: “Sonic Youth turned the war of sound into a war on the reproducibility of music for consumption, and the failure to create the perfect rock product into music itself … Since guys liked Sonic Youth, learning to like them had seemed like a way to borrow a little male bonding, like wearing flannel, skipping class to drop acid, or fumbling my way through a hacky sack circle.”
- Don’t pretend you don’t care about the sociology of flatulence. “Heterosexual men were the most likely to think it was funny and the most likely to engage in ‘intentional flatulence’ ... Heterosexual women felt like they were violating gender norms if their farts were stinky: ‘The worse it stinks,’ said one, ‘the nastier they think I am.’ ”
August 4, 2014 | by Dan Piepenbring
- Curmudgeons avow that the text message, with its relentless abbreviations and disdain for punctuation, is vandalizing our language. But that loose style has been around for centuries: “modern text-speak bears a striking resemblance to the system of abbreviations and shorthand present in medieval manuscripts.” (Haha, for instance, made an appearance on vellum as early as 1000 AD.)
- Also appearing in medieval manuscripts: illustrations of flatulent monks, killer rabbits, an ogre with an anal fixation, and a nun plucking penises from a phallus tree.
- In which Geoff Dyer attends an academic conference devoted to Geoff Dyer. “‘When speaking about the work, use Dyer,’ urged Dr. Bianca Leggett, the convenor of the conference, in her opening remarks. ‘When speaking about the man in the room, use Geoff.’ ”
- “Partisan Review is remembered for the editorial vision of two of its founders, William Phillips and Philip Rahv … but a third founder of the magazine, poet and thriller-writer Kenneth Fearing, has been largely forgotten, in part because he was suspected of being a Communist, and in part because he wrote thrillers.”
- Paris Review contributor Kristin Dombek turns her advice column into a meditation on political economy: “You have been trained from childhood to think that labor, in and of itself, is both a right and one of the most important goals of your life; you have been told that your ‘career’ is the same thing as ‘who you are in the world.’ Yet like most employed people in the United States, you work jobs that you consider to be banal, brutal, or both. For this labor you are supposed to be grateful, since work is increasingly hard to get: if you lose your shitty job, you’ve got only a one-in-five chance of finding a new one … ”
September 11, 2013 | by Sadie Stein
Every year, the Rona Jaffe Awards recognize the contributions of women writers. This year’s honorees are Tiffany Briere, Ashlee Crews, Margaree Little, Kirstin Valdez Quade, Jill Sisson Quinn, and Paris Review contributor Kristin Dombek. Hearty congratulations to all!
Read Dombek’s “Letter from Williamsburg,” from issue 205, here.
July 26, 2013 | by Lorin Stein
This essay may sound strange, read by a man—it is very specifically a woman’s essay. But Dombek’s voice is so powerful, every time I read “Letter from Williamsburg,” I hear it in my head. It’s like a song I want to sing along to. In fact, I remember reading the first two paragraphs to our Southern editor, John Jeremiah Sullivan, over the phone, before the rest of the essay was written. I wanted him to hear how beautifully Dombek modulates her tone from the sublime to the mundane. I only wish I could do justice to the music on the page.
Read the full essay in our Summer 2013 issue.