Posts Tagged ‘nonfiction’
August 24, 2016 | by Clay Byars
Revisited is a series in which writers look back on a work of art they first encountered long ago.
In my high school creative-writing class, one day a week was set aside for reading, our choice of material. The hippieish teacher guided those choices, but almost anything worked. It was here, because of her, that I first encountered Alan Watts, specifically his essay collection This Is It. All I remember about the book itself is my teacher dreamily commenting on the title. I picked up a copy because it was short, and because the subtitle—and Other Essays on Zen and Spiritual Experience—spoke to me. The idea seemed “cool”—Watts was a forerunner of the counterculture movement—but I must have been too busy with the eternity of high school to focus my attention.
I was in college when I was in a car accident that tore a nerve in my shoulder. A botched surgery to repair it severed an artery and released a blood clot that, a week later, caused a massive stroke that left me locked inside my body. I couldn’t move or speak, and the doctors said I would be paralyzed from the eyes down for the rest of my life. Read More »
August 19, 2016 | by The Paris Review
“The one thing no one will tell you is that these feelings and this behavior will last ten years. That is, a decade of your life. Ask your doctor if this is true and she will deny it.” In Mary Ruefle’s hands an essay about menopause becomes an essay on the human condition; ditto an essay about shrunken heads, and one about milk shakes, and one about dealing with crumbs. We published “Milk Shake” in our Spring issue as a prose poem—and it is that—but reading her collection My Private Property, I’m struck by the conversational quality of this new work, by its anthropological spirit, and by its stubborn emphasis on the facts as Ruefle has found them—whatever your doctor, or hers, or anyone else, may say to the contrary. —Lorin Stein
“One day I was drawing my weekly comic strip, and as I drew the frame, I had a half-memory of being with my cousins after seeing the torch light parade … 9 kids crammed into one car—no seatbelts, 3 adults smoking … And suddenly we were all just throwing up parade food at the same time. On top of this image was a half-memory of staying overnight at a neighbor’s house. Nine kids. The mom said things like ‘Holy Balls!’ When I make a comic strip, I let these sorts of images lead and combine as I move my pen. I try to let one line lead to the next without plan. The only thing I have to do is stay in motion. That’s what I was doing when I first saw Marlys.” Lynda Barry has been drawing the freckled, bespectacled, opinionated eight-year-old since 1986; to my mind, Marlys ranks with Charlie Brown as one of the most genuine and poignant adolescent protagonists in serial comics. The newly updated and expanded collection, The Greatest of Marlys, has been my beach reading this week. If you haven’t read Barry, let this book be your gateway: she is one of a kind, and with Marlys, she is irresistible. —Nicole Rudick Read More »
August 8, 2016 | by Shivani Radhakrishnan
“Please don’t write more books. I can’t read so many books,” a little girl once said to Rabindranath Tagore, the Bengali poet and Nobel laureate. The little girl was Mahasweta Devi, who grew up to be one of India’s best-known writers and activists. When Mahasweta died, on July 28—Devi is an honorific—she left behind no small collection herself: she had written more than a hundred books, including fiction and nonfiction about India’s tribal communities, Maoist insurgents, and women. Read More »
April 8, 2016 | by Lorin Stein
Ever since I started editing The Paris Review, I’ve wished we could interview Merle Haggard. No songwriter means as much to me. Unfortunately, the Review doesn’t have a series on the Art of Songwriting (and for good reasons), so for the past six years I just wished. Then last Friday, at a friend’s wedding, I met a country deejay named Rebecca Birmingham. We happened to start talking about Merle and how much his songs moved us both, how true they were to experience, how original they sound even now. We both knew he was in poor health, he’d been in poor health for years, but she had a friend who’d know how to get in touch … Four days later we got the news that he was dead. Read More »
March 25, 2016 | by Dan Piepenbring
- John Jeremiah Sullivan on Shuffle Along, one of the first all-black musicals on Broadway: “The blacks-in-blackface tradition, which lasted more than a century in this country, strikes most people, on first hearing of its existence, as deeply bizarre, and it was. But it emerged from a single crude reality: African American people were not allowed to perform onstage for much of the nineteenth century. They could not, that is, appear as themselves … In Shuffle Along, two black people fell in love onstage, and [the journalist Les] Walton wanted to see how a white audience would handle this … What he expected to see was not rage or revolt but something more ambiguous, an occasional discomfort passing through the room, and perhaps at certain moments a holding-back too, on the part of the cast. ‘White audiences, for some reason,’ Walton wrote, ‘do not want colored people to indulge in too much lovemaking.’ ”
- Speaking of musicals: American Psycho is one now. When Bret Easton Ellis’s novel came out, in 1991, some bookstores refused to stock it. Times have changed. As Dwight Garner writes, “This novel was ahead of its time. The culture has shifted to make room for Bateman. We’ve developed a taste for barbaric libertines with twinkling eyes and some zing in their tortured souls … Reading Mr. Ellis’s novel today, the hysteria of 1991 is almost inexplicable to me. It’s apparent from the start that Patrick Bateman is a sendup of a blank Wall Street generation. He’s a male mannequin, the ultimate soulless product of a soulless time … Something has happened since 1991 to our response to violence, especially when it is seasoned with a shake of wet or, especially, dry humor. Increasingly inured to the mess, we’ve learned to savor the wit.”
- What about Helen Fielding’s Bridget Jones’s Diary? Was it, too, ahead of its time? Though its observations about youth and work have long been dismissed as pedestrian, the economy has made them radically prescient, as Daniel Wenger writes: “Two years before Sex and the City, Fielding offered a third-wave route around the battleground between love and power … Today, Bridget Jones needn’t be limited to the confines of its chick-lit designation. The notion that the equations of life do not add up is still a particular problem for women of all ages, but many young people, no matter their gender, will find some of Bridget’s story familiar. Within a couple of years of graduating college, Bridget would have found her job prospects threatened by the global recession of the late eighties and early nineties; even when we first meet her, she’s flitting from position to position. Millennials began joining the workforce in the wake of the Great Recession, and according to a 2014 Council of Economic Advisers report, the consequence is an almost epigenetic stain on professional lives.”
- Sometimes people talk about fiction and nonfiction, and I’m like, What’s really the difference, you know? And they sort of phumpher and mumble a bit before they throw their hands up. But a lot of us feel this way: “According to Geoff Dyer, who says his next book is ‘a mixture of both fiction and non- but will be published as non-,’ the strength of the distinction in anglophone culture has waxed and waned … The nonfiction novels of Truman Capote and Norman Mailer blurred the lines again in the 1960s, he continues, and the boundary is ‘perhaps going through another porous phase right now’ … ‘You’d have to go back to the early nineteenth century or earlier to a time when “literature” referred to fiction and nonfiction rather than to a particular, highly regarded form of imaginative writing,’ he adds. Dyer cites Raymond Williams, who suggested that ‘the special regard in which fiction comes to be held … is probably connected to romanticism and the emphasis put on the imagination—which is itself a response to the rise of industrialization: a very fact-based process as Dickens emphasizes later in Hard Times.’ ”
- But why stop there? Why knock down the walls between genres when you can mount an assault on the separation between language and culture? On Charles Taylor’s The Language Animal: “He argues that language, like everything else that matters to human beings, cannot be understood as a kind of semantic Lego, where we acquire individual words with firm, clear shapes and string them together to form sentences, paragraphs, essays, and books. Language is shaped by the culture that has produced it, which means that it, in turn, shapes those who go on to use it. Hence: ‘The basic thesis of this book is that language can only be understood if we understand its constitutive role in human life’ … He agrees that ‘speech is the expression of thought,’ but insists ‘it isn’t simply an outer clothing for what could exist independently.’ The broadly Wittgensteinian alternative he offers to this reductionism is a kind of holism, in which the meanings of words hang together in complex webs in which culture and semantics cannot be disentangled.”
March 23, 2016 | by Dan Piepenbring
We’re delighted to announce the ten winners of the 2016 Whiting Awards:
- Brian Blanchfield, nonfiction
- J. D. Daniels, nonfiction
- LaTasha N. Nevada Diggs, poetry
- Madeleine George, drama
- Mitchell S. Jackson, fiction
- Alice Sola Kim, fiction
- Catherine Lacey, fiction
- Layli Long Soldier, poetry
- Safiya Sinclair, poetry
- Ocean Vuong, poetry
For the second year, the Daily is proud to feature selected work from all the Whiting honorees. Click each name above to read on and learn more about them. You can also see them read tomorrow night (Thursday, March 24) at BookCourt—John Wray, himself a former Whiting recipient, will host the event.
Founded in 1985, the Whiting Awards, of fifty thousand dollars each, are based on “early accomplishment and the promise of great work to come.” The program has awarded more than six million dollars to three hundred writers and poets, including Jonathan Franzen, Alice McDermott, David Foster Wallace, Jeffrey Eugenides, and The Paris Review’s own Mona Simpson and John Jeremiah Sullivan. Click here for a list of all the previous honorees. If you’re curious about last year’s winners, you can read some of their work here.
Congratulations to this year’s honorees!