Posts Tagged ‘Mark Leyner’
March 16, 2015 | by Dan Piepenbring
From “Another Disappointee” through “A Datum,” pp. 5–29
Here are a few of the things we learn about the narrator of Mating in the novel’s first twenty-five pages: She is an anthropologist manqué in Gaborone, Botswana. She has a good waist and voluminous hair. She’s dreamed, since preadolescence, of becoming an intercultural confidant, someone in whom the people of many nations are willing to confide. She’s been having irregular periods. She loves the sun. She hates baboons and TV. She speaks good Setswana. She’s a gifted mimic and a mnemonist, or something near enough. She doesn’t go in for free will. She wants, and in her opinion genuinely deserves, a lifetime companion.
Her voice—this brilliant, chatty, canny, imperious, cerebral, earthly, frivolous, pretentious, earnest, glib, fluent, funny voice—is the engine of the novel, and it entices (or repels) a first-time reader almost immediately. Our narrator is, simply put, strange. Her style is singular enough that it becomes, as with the best first-person fiction, a kind of motivator, an element of suspense: we’re reading to find out who’s talking. It’s not that she’s unreliable. On the contrary, after just a few voluble pages of her company, I’m prepared to open a joint bank account with her, even if I don’t know her name. What I do want to know is, Who is this person, who tosses off such phrases as “echt mama’s boy” and “naughtiness-based lustral seizure,” who has such a firm grasp of human relations and whose life, nonetheless, is steeped in loneliness? Read More »
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?)
March 2, 2015 | by The Paris Review
We also have the first-ever in-person interview with Elena Ferrante, on the art of fiction:
As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me … At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them … Even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men.
And Lydia Davis, on her approach to the short story, to translation, and to naming:
I’ve always felt that naming was artificial. I’ve done it. I wrote about one woman and called her Mrs. Orlando, because the woman I based her on lived in Florida. Recently I wrote a story called “The Two Davises and the Rug” because I have a neighbor named Davis and he and I were trying to decide which one should end up with a certain rug, and I was very fond of using that name, even though it wouldn’t make much difference to anybody if I called it “The Two Harrises and the Rug.”
Plus, Hilary Mantel discusses her Cromwell books and the difference between historians and novelists:
Nobody seems to share my approach to historical fiction. I suppose if I have a maxim, it is that there isn’t any necessary conflict between good history and good drama. I know that history is not shapely, and I know the truth is often inconvenient and incoherent. It contains all sorts of superfluities. You could cut a much better shape if you were God, but as it is, I think the whole fascination and the skill is in working with those incoherencies.
There’s new fiction by Angela Flournoy, Ken Kalfus, and Mark Leyner, the winner of this year’s Terry Southern Prize; a novella by James Lasdun; and poems from Charles Simic, Peter Gizzi, Major Jackson, Stephen Dunn, Susan Stewart, Shuzo Takiguchi, Craig Morgan Teicher, and Sarah Trudgeon.
Mel Bochner, who designed a cover for the magazine back in 1973, is back with a portfolio of thesaurus paintings. And last, there’s “Letter from the Primal Horde,” an essay by J. D. Daniels about a fateful experience at a group-relations conference.
September 4, 2014 | by Dan Piepenbring
The English translation of Roberto Bolaño’s excellent final novella, A Little Lumpen Novelita, is out this month. The book opens with an epigraph by Antonin Artaud, who was born today in 1896: “All writing is garbage. People who come out of nowhere to try to put into words any part of what goes on in their minds are pigs.”
Since I read it about a month ago, I’ve thought of this quotation every day, often as I’m writing—you can imagine the rat-a-tat of my keyboard punctuated with an occasional “All writing is garbage.” It’s a bracing sentiment, taunting and misanthropic, and a truer one than most of us would care to admit. At the moment, it flies in the face of our glad-handing literary culture, where every book is a good book and every writer in every M.F.A. program partakes of a dignified struggle with Art.
Here’s how that quotation, which comes from Artaud’s The Nerve Meter (1925), goes on: Read More »
April 4, 2014 | by The Paris Review
In December of 1891, Walt Whitman contracted pneumonia. He was by then a celebrity poet and his deteriorating health had for a long time been media manna. The New York Times sent a reporter to Camden in 1888, and updates on Whitman’s health were published continually over the next few years—see 1890’s “Walt Whitman Has a Bad Cold.” By 1891, the end was within sight, and the paper published daily dispatches with headlines like “Walt Whitman Slowly Dying,” “Walt Whitman Still Lingering,” and “Walt Whitman About the Same.” Readers were made privy to such personal details as Whitman’s caloric intake (two oysters one day; a mutton chop another), his mindset (“he is perfectly rational”), and his doctor’s solemn belief that Whitman would last but a handful of hours more. He died on March 26, 1892. —Zack Newick
The best part of The 400 Blows is when Jean-Pierre Léaud ad libs an intake interview at reform school. Over the weekend a friend sent me the film test that got him the part. You can just feel Truffaut’s excitement at having found the child actor who would become his alter ego. The kid is pure heartbreaking charm. —Lorin Stein
Every couple of years, I revisit this documentary on the late broadcaster Victor Packer—hands down, one of the best things I have ever heard on the radio. Packer was, to put it mildly, a man of tremendous energy and varied interests. The portrait that emerges, by the Yiddish Radio Project, is that of an eccentric—but also of another era. It’s twelve minutes very well spent. (Packer, incidentally, is voiced by Christopher Lloyd.) —Sadie Stein
In “The Dead Zoo Gang,” a novella-length article published on The Atavist, Charles Homans tells the story of a group of international thieves known for robbing unlikely targets: taxidermists, antiques dealers, and natural history museums. They steal rhino horns to sell to buyers in Asia, and it’s been the work of law enforcement agents across the world to catch them—a difficult task, mainly because the thieves all seem to hail from an impenetrable subset of an already insular and poorly documented community, the Irish Travellers. Homans’s slow-building depiction of this community fascinates me. The Travellers are Roma-like nomads that exist on the outskirts of Irish society; they move from town to town in their trailers, congregating just once a year for, among other things, wedding celebrations so raucous they spawned a reality series, My Big Fat Gypsy Wedding. They speak a patois of Irish Gaelic and English and are organized in wildly complicated extended-family groups. And, most important, some of them—patriarchs whose net worth is estimated to be between 275 and 690 million dollars—appear to run scams and criminal activities (to say nothing of the odd legitimate business) on every continent except Antarctica. This a deep rabbit hole, but you won’t regret following it to its conclusion. —Tucker Morgan Read More »
April 2, 2013 | by Lorin Stein
On the eve of celebrating our sixtieth birthday, The Paris Review is up for two National Magazine Awards: Fiction and General Excellence. Our fiction finalist is Sarah Frisch, whose story “Housebreaking” appeared in issue 203.
These nominations are the latest in a series of recent plaudits. Last month, we received seven nominations for the Pushcart Prize. We also had a story (“The Chair,” by David Means) chosen for The Best American Short Stories and an essay (“Human Snowball,” by Davy Rothbart) selected for the year’s Best Nonrequired Reading.
This week, New York magazine placed our new issue in the top quadrant of its famous, feared Approval Matrix, while Adam Sternbergh, blogging for the New York Times, called it “great … great … great.” He singles out “a great, long interview with Mark Leyner,” the Art of Fiction with “New York literary icon Deborah Eisenberg,” and “a great new poem from Frederick Seidel”; plus, “you’ll look great toting The Paris Review,” thanks, presumably, to our great cover.