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Posts Tagged ‘Lorin Stein’

Louder than Bombs: An Interview with Joachim Trier and Jesse Eisenberg

April 6, 2016 | by

Isabelle Huppert and Gabriel Byrne in a still from Louder than Bombs.

Readers of the Review know that the Norwegian filmmaker Joachim Trier is one of our favorite young directors. (See Issue 203 for a discussion of his first two features, Reprise and Oslo, August 31st.) His new English-language debut, Louder than Bombs, stars Isabelle Huppert, Gabriel Byrne, and Jesse Eisenberg. Last week we caught up with Trier and Eisenberg for a conversation that ranged from Knut Hamsun to The Karate Kid to David Foster Wallace. We also talked about the making of Louder than BombsRead More »

The Paris Review in Paris

March 14, 2016 | by

From the cover of our Summer 1968 issue—now, for a limited time only, not misleading.

The Paris Review hasn’t been headquartered in Paris since 1973—a cause of immeasurable confusion over the years. But this week, for once, our name makes sense: our editor, Lorin Stein, is in the City of Light. Though he’s not, to my knowledge, reviewing anything there, he’s speaking at two free events, and we invite our Parisian readers to attend.

On Tuesday, March 15, Lorin joins Russell Williams and Nelly Kaprièlian at the American University of Paris for a panel called Translating Houellebecq.” They’ll discuss the global reception, significance, and challenges of Michel Houellebecq’s Submission, which Lorin translated into English last year. The talk will be held in Room C-104, located in the AUP Combes building, at six P.M.; those looking to attend should write rwilliams@aup.edu to register.

On Thursday, March 17, Lorin and David Szalay appear in conversation at Shakespeare and Company. Szalay is the winner of this year’s Plimpton Prize, awarded for his novellas Youth, from issue 213, and Lascia Amor e siegui Marte, from issue 215. Their talk begins at seven.

We urge our French readership to join Lorin before he returns to New York and The Paris Review resumes its life as a misnomer.

Speaking Unprofessionally

January 4, 2016 | by

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.

Click to enlarge Read More »

A Century of Censorship, and Other News

November 18, 2015 | by

Audrey Munson, in a still from Inspiration.

  • 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.

Saturday: See Lorin Stein Discuss “Narcissus and Literature”

October 9, 2015 | by

 

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!

The Hermit Kingdom—in Fabulous 3-D! And Other News

October 8, 2015 | by

Won Il-myong, a furnace worker at North Korea’s Chollima Steelworks. Photo: Matjaž Tančič, via The Guardian

  • 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.”