Posts Tagged ‘news’
May 31, 2016 | by Dan Piepenbring
… to bring you some important news about the Paris Review Daily.
As you may have seen, last week marked the end of Sadie Stein’s tenure as our daily correspondent. For two and a half years, with charm and insight, Sadie has brought us her stories: about her family, her childhood, her life as a reader, and, of course, about the truly bizarre personalities one encounters in New York. As she writes in her farewell post, “There are certain kinds of writing—good writing—that are actually better suited to this medium than to print, and translating the personal and fleeting into something public seems to me one of the Internet’s primary gifts.” Her column was a warm, witty reminder of how rich those gifts can be. And remember that before she began, she edited the Daily for nearly two years—all of which is to say that she’s been instrumental in giving this site its voice. We’re sad to see her go.
In sunnier news, we have two new editors joining us at the Review and helping to make the Daily even better (read: dailier). Please welcome our new editor-at-large, Robert P. Baird, formerly of Harper’s, in whose April issue you may have read his piece about a trove of Colombian emeralds discovered off the coast of Key West; and our new associate editor, Caitlin Love, who joins us from the Oxford American. (This means that Caitlin, a lifelong Arkansan, has moved north of the Mason-Dixon for the first time. Early reports indicate that she’s enjoying the bagels.) The Review and the Daily are already the stronger for their expertise. Check back to see the wonders they work.
Starting next month, we’ll welcome a raft of new columnists and contributors, too. Stay tuned.
May 2, 2016 | by Dylan Hicks
April 25, 2016 | by Dylan Hicks
Ed. Note: every month, the Daily features a puzzle by Dylan Hicks. The first list of correct answers wins a year’s subscription to The Paris Review. (In the event that no one can get every answer, the list with the most correct responses will win.) Send an e-mail with your answers to email@example.com. The deadline is Thursday, April 28, at noon EST, when we’ll post the answers. Good luck!
Our latest puzzle anagrammatizes names and titles ripped or daintily cut from newspapers and magazines published this April. The anagrams have been arranged into three numerically uneven groups. In the first group, Multiplex Marquee Prank, you’ll find the jumbled titles of movies in wide release as of this mid-April writing. With a few exceptions, the anagrams don’t relate to or otherwise provide clues to the movies, but since there are relatively few titles playing widely on big screens at any given time, the pool of possible answers should be manageable. Because some of the anagrams might on first glance resemble nonsense, each is preceded by a context-suggesting parenthetical. So, a puzzle leading to Don Cheadle’s Miles Ahead might look like this: Read More »
April 1, 2016 | by The Paris Review
We’re thrilled to announce a new chapter for The Paris Review’s subscribers—an exciting opportunity to meet your fellow readers, enhance your writing skills, and relax in the sun while you support your favorite literary magazine. This August, join us aboard the SS Plimpton for four days of fun, food, and fiction as we set sail for scenic Rehoboth Beach, Delaware! For only $375*, you can make memories and friendships you’ll treasure for the rest of your life.
Want to learn more? Read on! Read More »
February 18, 2016 | by Sadie Stein
- Lyricist Sameer Anjaan has entered The Guinness Book of World Records—they had to make a new category—for writing the greatest number of Bollywood songs, ever. By the numbers: 3,524 songs, 650 films, 33 years. Writes his biographer, “Sameer was a hit both with the fans and the singers because he wrote songs that did not require dictionary to understand. He wrote in the language of the common people.” Listen to his top twenty-five songs here.
- In other lyrical news: Finnish composer Kaija Saariaho’s L’Amour de loin will premiere at the Metropolitan Opera as part of its 2016–2017 season—the first opera by a woman the company has mounted since 1903.
- Female spies in seventeenth-century Northern Europe had all sorts of ingenious means of transporting information, writes historian Nadine Ackerman, author of “Female Spies or ‘she-Intelligencers’: Towards a Gendered History of Seventeenth-Century Espionage.” The women—who ranged from poets to bakers, aristocrats to peasants—were generally considered unsuspicious, even in times of war, and if caught did not face the capital punishment of their male counterparts. In a pair videos, the author re-creates several of their espionage methods: using artichokes and hollow eggs.
- In many ways, we are less intrigued by The Vatican Cookbook revealing the Holy Father’s love of pizza than by the fact that such information is “as told by members of the Pontifical Swiss Guard.” It seems like breaking some kind of seal, or at least NDA, but no! In fact! “Polish nuns do the majority of cooking at the Vatican, but the Swiss Guard chefs do step in to make food on formal occasions or to fulfill a special request. Though a guard cooking is a rarity, these men know more about the Pope’s eating habits than anyone else, since they are no more than a few steps from him at all times.”
- “What does it mean to shift overnight from a society in which people walk down the street looking around to one in which people walk down the street looking at machines?” asks Jacob Weisberg in The New York Review of Books. Writing about four new books that plumb different aspects of our dependence on—ambivalent relationship to—technology, he finds that most raise more questions than they answer—we’re still living the answer in real time.
February 16, 2016 | by Sadie Stein
- To die in literature is to achieve fictional immortality, argues John Williams. “Just a cursory list of memorable deaths (spoilers ahead) can make all of literature seem like one long Edward Gorey strip: Cathy in Wuthering Heights; Beth in Little Women; Piggy in Lord of the Flies; Cordelia in King Lear; more or less everyone in Hamlet; Leonard Bast in Howards End; Anna Karenina; and perhaps most agonizingly, the small children in Jude the Obscure.”
- Conversely: “15 Books to Read if You Love a Shocking Plot Twist.” (At some point, Hamlet would have made this list.)
- Stéphane Heuet’s controversial—but wildly popular—graphic novelization of À la recherche du temps perdu has finally hit the UK. One reviewer—a Proust virgin—finds it “a good and gentle place to start. Sumptuous, elegant and beautifully paced, it is completely absorbing. Will it send me to the real thing? Maybe, one day. But whatever happens, this volume is a work of art in its own right. I’ll be forever glad to have spent so much time bent over it.”
- The following link is not included at all because it is illustrated by an image of a dollhouse. On the contrary, that is of no interest to us whatsoever. What is: a tribute to the late novelist Margaret Forster (she died February 8th) and her memoir, My Life in Houses. “As Forster moves from room to flat to house so the progress of her life reflects the pattern woven by childhood, academia, love, marriage, a career as a writer and then motherhood while a series of individuals who have marked her life inhabit the shadows within the structure of the bricks and mortar of the book. From her hard-working mother, her altruistic grandfather George, her two Oxford landladies, the imperious lace-capped Mrs. Brown, ‘straight out of Jane Austen’ and her tiny, deceptively smiley sister Fanny, who ran the house in a state of ‘suppressed fury’, to Sixties dinner parties at home with three of the four Beatles, each character takes up position fleetingly.”
- Let’s just get it out of the way: you are about to read the words Mahler grooves. Besides everything else, this is sort of false advertising; Mahler does not groove so much as write a Sixth Symphony which has been widely interpreted—and reordered—by any number of conductors. The oiid app is pretty groovy, though: it allows you to effectively “step inside a performance,” exploring the recordings of a number of conductors against the score and, in the process, learn a new appreciation for the complex work. As Leonard Bernstein wrote, the Sixth contains “basic elements (including clichés) of German music, driven to their furious ultimate power. Result: Neurotic intensity, irony, extreme sentimentalism, despair … ” In other words, Tuesday.