Posts Tagged ‘Lorin Stein’
January 4, 2016 | by The Paris Review
Attention, procrastinators! This is your last chance to get a free copy of our new anthology of emerging writers, The Unprofessionals. Want to learn more? See below for a talk with our editor, Lorin Stein, and contributors Emma Cline, Kristin Dombek, Cathy Park Hong, Ben Nugent, and Jana Prikryl. Thanks to BookCourt for letting us tape their conversation.
November 18, 2015 | by Dan Piepenbring
- Our new anthology, The Unprofessionals, is out now. What does it mean to be unprofessional, you ask? In many cases, it’s as easy as spitting in someone’s food or showing up to work in bondage gear. But if you’re a writer, escaping the rising tide of professionalism proves more difficult. Fortunately, our editor, Lorin Stein, has some advice: “The stories that excite me most tend to have three qualities. First there’s a voice, a narrator who urgently needs to speak. Even if they never say ‘I.’ Second, the narrator tries to persuade you that he or she is telling the truth. The third thing is, for lack of a better word, wisdom. A kind of moral authority, or at least the effort to settle a troubled conscience … There’s a kind of realism—not just in stories, but in poems and essays—that assumes we live in dishonesty, that we lie to others and ourselves as a matter of survival, but that part of us knows the truth when we see it. That’s what interests me: the truths we can’t tell except when we put on the mantle of this authority.”
- Karl Ove Knausgaard hears this voice, too: “The novel is an oddly intimate genre: at root, it is always a matter between two individuals, writer and reader, whose first encounter occurs when the writer writes—for in writing, the very act of it, there is always an appeal to a you, redeemed only by the insertion of a reader. This you may be inserted at any time, even hundreds of years after the event of writing, the way, for instance, we might read a novel written in seventeenth-century Spain, or eighteenth-century Russia, or early-twentieth-century Germany, and yet still induce the voice of the self to rise anew within us, remoteness dissolving. And that self may also reveal itself to us in the reading of novels from places geographically remote to us, such as China, Kenya, Colombia.”
- A century ago today, on November 18, 1915, cinema saw its first nude woman, and people have been in a tizzy over sex and censorship on-screen ever since: “The bare breasts and buttocks of Audrey Munson, the actress in Inspiration, seemed to enter the public consciousness only obliquely. One contemporary critic wrote that the film was ‘both inspiring and intellectual,’ with Munson giving a performance of ‘innocence, modesty, and simplicity’; others noted that it was ‘daring’ and a ‘triumph of Film Art.’ One, the Daily Capital Journal, scoffed at the idea of anyone being offended by it. After all, it pointed out, this is a work of ‘extreme artistic and educational value,’ not a titillating striptease.”
- Today in nests and nesting: in Zvenigorod, forty miles west of Moscow, there stands a cathedral with a wealth of rare printed matter hidden inside: letters, newspaper clippings, candy wrappers, banknotes, some as old as the early nineteenth century. For this horn of archival plenty, we can thank the birds: “flocks of swifts and jackdaws had built nests in the attic out of various bits of papers, dirt, branches, and trash that over the centuries came to form a considerably thick layer of preserved history … Other documents record the town’s civic, religious, and educational affairs; among the lot: bus tickets, delivery contracts, a county court slip, students’ notebooks and diplomas, parish registers, and even church confessional statements.”
- The photographer Andrew Moore’s new book, Dirt Meridian, features ten years of his pictures of homestead sites, taken along the hundredth meridian line that runs through Nebraska, North and South Dakota, Kansas, Oklahoma, and Texas, where once pioneers were attracted by the Homestead Act. What’s there now? “Almost World Famous Dixie’s Café,” crumbling houses, Simon’s Schoolhouse Museum, and a lot of property that looks more or less the same.
October 9, 2015 | by Dan Piepenbring
New York! Tomorrow—Saturday, October 10— at three P.M., our editor Lorin Stein will moderate a discussion with our Southern editor John Jeremiah Sullivan, Elif Batuman, and Jessica Moss. The matter at hand: How do writers interact with the mirror of the page? They’ll talk about the uses and perils of the first person in modern and classic literature.
Their discussion is part of this year’s Onassis Festival, a four-day series of arts and ideas to inaugurate the renovated Onassis Center; the theme is Narcissus Now: The Myth Reimagined. The event takes place in the gallery at Olympic Tower, 645 Fifth Avenue, at Fifty-first Street. Tickets are available here. We hope to see you there!
October 8, 2015 | by Dan Piepenbring
- The Belarussian writer Svetlana Alexievich has won this year’s Nobel Prize for literature. Read her piece “Voices from Chernobyl” from our Winter 2004 issue. “Alexievich,” The New York Times writes, “is best known for giving voice to women and men who had lived through World War II, the Soviet occupation of Afghanistan that lasted from 1979 to 1989, and the Chernobyl nuclear disaster of 1986.”
- Our editor Lorin Stein discusses translating Michel Houellebecq’s novel Submission—specifically, one sentence about arousal, Muslims, and politics: “At first I wrote, ‘Given the political situation, choosing a Muslim turned me on.’ But this was very un-Houellebecqian … One of us came up with arouse: ‘Arousing, in a way’ — for me, that’s how Houellebecq sounds. And even though the syntax doesn’t track the French exactly, it preserves the air of anticlimax, the slight fussiness, the stoicism of the original. The sentence became less brutal, less vulgar.”
- When he’s not making movies, Wim Wenders takes photographs—and yes, most of these photos contain landscapes, and sure, most of them are devoid of human life, but don’t call the guy a landscape photographer. He’s got your number. “I am not a landscape photographer. I am interested in people. I am interested in our civilization. I am interested in what traces we leave in landscapes, in cities and places. But I wait until people have gone, until they are out of the shot. So the place can start talking about us. Places are so much more able to evoke people when people are out. As soon as there is one person in the shot everybody looks at that person. If there is nobody in the shot, the beholder is able to listen to the story of that place. And that’s my job. I try to make places tell their stories about us. So I am not a landscape photographer. I am really interested in people, but my way of finding out things about people is that I do photos about their absence, about their traces.”
- When the Oregon Shakespeare Festival announced plans to translate all thirty-six plays into modern English, people got very pissed, very fast. These days we like our Shakespeare unadulterated; his genius, the thinking goes, reposes in his language. But it wasn’t always so. “So many serious Shakespeareans over the centuries have argued the opposite: that Shakespeare’s genius had to be salvaged from the obscure, indecorous, archaic, quibbling mess of his language. For poets, playwrights, editors, and actors from the seventeenth century through much of the nineteenth, Shakespeare’s language wasn’t intoxicating so much as intoxicated: it needed a sobering intervention.”
- North Korea just held its first photography exhibition curated by Western artists. Among the works on display were pictures by the Slovenian photographer Matjaž Tančič, who took portraits of North Koreans in—wait for it—3-D. And though that art form is liberating, his travels were not: “My guides would keep trying to trick me by taking me to the ‘beautiful bits’ like the pristine maternity hospital in Pyongyang, or a newly refurbished library. I’d keep trying to trick them into letting me talk to ordinary North Koreans.” Tančič described the country as “like a stage,” and then, later, “like a movie.”
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!
April 20, 2015 | by Dan Piepenbring
Tomorrow evening (Tuesday, April 21), join us in Brooklyn at the BAMcafé, where our editor, Lorin Stein, will talk to Chris Ware as part of BAM’s Eat, Drink, and Be Literary series.
Zadie Smith has said, “There’s no writer alive whose work I love more than Chris Ware.” His latest book, Building Stories (2012), pushes the boundaries of the comic format—it’s a series of books, broadsheets, scraps, and pamphlets focusing on the inhabitants of a single building in Chicago. The Paris Review’s interview with Ware ran in our Fall 2014 issue, for which he also designed the cover. “The quote marks that fine art put around picture making in the mid to late twentieth century just seemed a dead end to me,” he says, speaking of what led him to pursue comics:
Sarcasm can only go so far. 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, especially since they are a language meant to be read, not seen—which is a frighteningly interesting and very human way of perceiving the world, and one that’s generally given short shrift, especially in art schools.
Tickets for tomorrow’s event are available here. Lorin will also moderate BAM events with Jane Smiley, on June 2, and Rachel Kushner, on June 10.