Posts Tagged ‘NPR’
October 26, 2015 | by Dan Piepenbring
- Ask your standard-issue grammarian about further versus farther and he’ll trot out the conventional wisdom: farther should be used to refer to literal distances and further to metaphorical ones. But what if everything we’ve been taught is a lie? Caleb Crain investigates: “Further didn’t originally mean ‘more distant’ but something like ‘more ahead,’ or, as the contemporary O.E.D. puts it, ‘more forward, more onward’ … farther refers to a greater distance, literal or metaphorical, from a shared measuring point. Further refers to a greater progress in a shared direction.”
- What did the literary world look like before the free market enveloped and swallowed it? Memories of that time are getting murkier every day: “It is almost impossible now to remember … that poetry was the literary genre to which the greatest prestige accrued until the mideighties; that one might have spent an afternoon talking with an acquaintance about the rhythm of a writer’s sentences … that we didn’t think of success in writing mainly in relation to the market, and in relation to a particular genre, the novel, and to a specific incarnation of that genre, the first novel, possibly until 1993, when A Suitable Boy was published, or maybe a year earlier, when Donna Tartt’s The Secret History appeared. It is now difficult to understand these examples as watershed occurrences in an emerging order, and difficult to experience again the moral implications of living … in an order that was superseded.”
- NPR personalities used to position themselves as the genuine, warts-and-all alternative to the downy baritones on offer from traditional radio broadcasters—but today even the NPR voices have come to sound manufactured, their hesitant cadences and informality built into the script. “In addition to looser language, the speaker generously employs pauses and, particularly at the end of sentences, emphatic inflection … A result is the suggestion of spontaneous speech and unadulterated emotion. The irony is that such presentations are highly rehearsed, with each caesura calculated and every syllable stressed in advance … the preplanned responses of NPR personalities sound somewhat counterfeit when stacked against the largely, if not completely, unscripted monologues that open rawer podcasts … an even more forceful catalyst for speech patterns has been the modern Internet, the most powerful linguistic relaxant outside of alcohol.”
- E. H. Shepard is best remembered as the illustrator behind the original Winnie-the-Pooh, but before that, during World War I, he ran a soldiers’ magazine from the trenches: “For months, his life, like all those on the front, was surrounded by slaughter. His sketchbook was full of pictures of crammed dugouts and rough shelters. He drew the chaotic rubble of no-man’s land, the plight of the wounded, and the tall roadside crucifix used as a lookout post by the Germans … But there’s still plenty of humor in Venti Quatro, the soldiers’ magazine he edited, satirizing the gung-ho coverage of the British press, so far from the bitter reality. His wit is not verbal, but visual—a quality hard to define—seen here in affectionate caricatures of fellow officers and in the wonderful, rhythmic dance of beak-nosed, moustachioed officers in swirling tutus.”
- More and more literary magazines are charging a reading fee—is this blatant money-grabbing or the latest in a series of efforts to stanch the flow of submissions? “The major reason literary journals charge fees has less to do with money, and more to do with the enormous number of submissions they receive. Around the country, MFA programs are graduating people who want to be writers, so they submit creative writing to literary journals. The journals, with small staffs and minuscule budgets, are overwhelmed with submissions and take a long time—sometimes six months to a year—to reply. Most writers can’t wait that long for a single response, so they send their work to more journals. The whole thing snowballs … In some sense, then, writers are to blame for blanketing journals they haven’t even read with their work.”
January 8, 2015 | by James Yeh
What’s immediately striking about Thomas Pierce’s debut story collection, Hall of Small Mammals, are its wild, unforgettable conceits. In “Shirley Temple Three,” a long-extinct dwarf mammoth is cloned for a TV show, then dumped off in a small Southern town with Mawmaw, the show host’s mother. In “More Soon,” the body of a man’s brother is shipped all over the world because of worries over a mysterious contagion. In “Videos of People Falling Down,” the lives of a host of characters—a local-news reporter, a right-wing Listserv manager, a cheesy pop singer—converge and intertwine through the shared humiliation of having been filmed while falling. But Pierce’s characters never feel secondary to his plots. They are resoundingly human, with their bundles of worries, joys, dreams, and burdens, their beliefs, theories, and suspicions, their wanderings and wonderings.
Pierce and I first met in 2000, as students in a high school summer program in South Carolina, our shared home state. Even then I was impressed by his charm and intelligence, and his lively, slightly askew sense of humor. In 2013, my magazine, Gigantic, published his story “Time to Get Radical,” a funny and unexpectedly moving catchphrase-driven monologue that in around twelve hundred words manages to capture the highs, lows, and in-betweens in the life of one semi-religious auto-parts salesman someplace down South.
This interview took place over a series of e-mails and a shared Google Doc, along with two in-person meetings—in his hometown of Spartanburg, South Carolina, and in Charlottesville, Virginia, where he now lives.
You worked for five years at NPR as a blogger, reporter, and producer. How has this experience informed your work?
In radio, you’re always aware that you have to win the listener’s attention. You’re wrestling them away from their breakfast or their drive or kids. So lesson one is to be interesting and engaging. You also learn quickly that the best sentence to read over the air is usually the simplest one—complex ideas don’t necessarily require complex sentences. Don’t get me wrong, I love beautiful, confusing sentences, too, but I also value clarity—and radio helped me in that regard.
You may only have ninety seconds to tell a story on the radio. When you write a radio script, there’s software you can use with a little clock in the upper right-hand corner that tells you the piece’s length in terms of time. This helps you to remember that what you’re creating will occupy a portion of a person’s day. One of my short stories might steal forty-two minutes from your life. I want to use your time wisely. Read More »
November 7, 2014 | by The Paris Review
“One of the striking features of the discourse of man to modern eyes, in a sense the most striking, is how unreadable it is, how tedious, how unhelpful. The puzzle is why it is unreadable.” Thus, Mark Greif in his exhilarating study The Age of the Crisis of Man: Thought and Fiction in America 1933–1973. By “the discourse of man” Greif means the vast midcentury literature on human dignity, from Being and Nothingness, to the “Family of Man” photo exhibition, to the Universal Declaration of Human Rights—a discourse that Greif interrogates with verve, erudition, sympathy, and suspicion, and that he follows into the fiction of our time. I’ve been toting The Age of the Crisis of Man around for the last month, using a pencil for a bookmark, because there’s something to underline on every page—and I haven’t even got to the chapters on O’Connor and Pynchon. —Lorin Stein
Like many nineties kids, I received my first doses of NPR while buckled up in the backseat of my parents’ car; Saturday-morning drives, often to visit my grandparents, meant one thing: Car Talk. The show has been a constant in my life ever since. (In fact, if you’ve ever wondered what occupies The Paris Review’s staff on our five-hour quarterly drives to our press in Pennsylvania, look no further than the Car Talk podcast.) So many of the tributes to Tom Magliozzi, the elder “Tappet” brother who died this week of complications from Alzheimer’s disease, focused on his inimitable and infectious laughter—and rightfully so. But the somberness of the occasion reminded me of a letter Tom and Ray once fielded from a troubled freshman at Mount Holyoke College, a young listener named Lea. (You can listen to Tom read Lea’s letter here; she later called in to the show.) Give them a listen and you'll be reminded of just how much the show provided: laughter, yes, and advice about cars—but also the occasional window, especially for its young listeners, into the sort of life one might aspire toward, one where the adults of the world still engage in “water-pistol fights, with whipped cream.” —Stephen Andrew Hiltner
I can’t in good faith claim that Robert Altman’s Dr. T and the Women (2000) is a “good” movie, but it captivates, in its quietly provocative way. Imagine the eye rolls after this pitch meeting: “Well, it’s this sexy, envelope-pushing comedy where Richard Gere plays a hunky gynecologist in upper-crust Dallas, but he doesn’t boink his patients or anything lewd like that—he just treats everyone really respectfully, including his daughters and his wife, who goes insane, in fact, because of how deeply loved she is and how well her personal needs are met.” Dr. T is a farce, a riff on the “Book of Job” and the suffering of the virtuous; all of its women are kooky and dependent in some way on the ministrations of the good doctor, with his boundless patience and his way with the speculum. Altman wrings a lot of jouissance from his ensemble cast, especially Gere, who really does seem too sensitive for this milieu. But what is this milieu? Why are all these rich ladies so gabby, so troubled, so sad? That’s where Dr. T is ultimately thwarted: in spite of its lead’s genuine (and believable) reverence for the feminine, the film can’t help but lapse into misogyny. It’s called Dr. T and the Women, for god’s sake. But right up to its positively outlandish ending, it asks questions about chivalry, materialism, and gender that not many movies would dare to touch, then or now. It’s audacious filmmaking—and that alone makes it worth watching. —Dan Piepenbring
In 1892, long before the O. J. Simpson trial or the Lindbergh kidnapping, there was a court case that swept the nation’s interest. It wasn’t because the violence of the crime—one woman publicly slashing the throat of another—but the motivation: a same-sex love affair. Using love letters, archives, newspaper articles, and government records, Alexis Coe’s Alice + Freda Forever brings to life the story of Alice Mitchell and Freda Ward, who lived in a much too-familiar world intolerant of any relationship outside the norm. Coe’s narrative covers the perceptions of sexuality, women’s role in society, racial hierarchy, media manipulation, and even mental health, but she never strays too far from the heart of the story: the tragic romance between two women forty years before the word lesbian would be in circulation. —Justin Alvarez
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December 3, 2013 | by Sadie Stein
The flight attendant on the cover of 207 does not deceive you: this issue is a ride and a half. For your reading enjoyment we offer:
Geoff Dyer on the art of nonfiction—and why he hates that rubric:
I don’t think a reasonable assessment of what I’ve been up to in the last however many years is possible if one accepts segregation. That refusal is part of what the books are about. I think of all them as, um, what’s the word? … Ah, yes, books! I haven’t subjected it to scientific analysis, but if you look at the proportion of made-up stuff in the so-called novels versus the proportion of made-up stuff in the others I would expect they’re pretty much the same
Edward P. Jones on the art of fiction:
People say, Did you grow up thinking of yourself as this or that, blah blah blah. These middle-class or upper-class kids, maybe three or four times a week they’d have a doctor over, they’d have an engineer over, they’d have a writer over, and they’d get into a conversation with the writer and all of a sudden realize, Oh, I think I want to be a writer. That didn’t happen to me. That doesn’t happen to the rest of us.
Plus! The first installment of a novel by Rachel Cusk. New fiction from J. D. Daniels, Jenny Offill, Nell Freudenberger, Ottessa Moshfegh, and Lydia Davis, and the winner of the NPR Three-Minute Fiction Contest.
Plus, poems by Kevin Prufer, Susan Stewart, Hilda Hilst, Charlie Smith, Monica Youn, Sylvie Baumgartel, Emily Moore, and Linda Pastan.
And did we mention a portfolio of nudes by Chuck Close?
We realize you have choices when it comes to quarterly reading, and we thank you for choosing The Paris Review.
October 2, 2013 | by Jill Talbot
I am driving west on Highway 51. It’s Tuesday, the day before Indie’s ninth birthday, and as I pass the city limits of Stillwater on my way to Oklahoma City, I switch from the Sinatra station, the one playing “I’ll Be Seeing You,” to the seventies station, the one playing Marshall Tucker Band’s “Heard It in a Love Song.” I’m gonna be leavin’ at the break of dawn. I rarely listen to the song now, though sometimes when Indie is in the car, I’ll let it play, even sing along, assume the next time she asks me why he left, I can say, “You know that song, the one about the guy who never had a damn thing but what he had, he had to leave it behind?” She’ll know the song. So many times, when she’s singing along to Ambrosia or Bread, Jackson Browne, especially America, in the car, I ask her how she knows all the words to those long-ago songs, and she always has the same answer, “You sing all the time.” He used to tell me that, too. I change the station to NPR.
I recognize a familiar voice:
The American family has changed. The nuclear family in the house across the street is still there, but different kinds of families live on the block, too: unmarried parents, gay parents, people who choose not to have children at all and, of course, single parents.
A new Pew Research poll asked Americans about these trends and found almost 70 percent believe that single women raising children on their own is bad for society.
Of course, there is a wide array of single mothers. Some women choose to raise children by themselves. Others find themselves without a partner through divorce or abandonment. But when seven in ten believe this is bad for society, it makes you wonder.
So we want to hear from single mothers today. How do people treat you? Tell us your story. 800-989-8255 is the phone number. Email us, firstname.lastname@example.org. You can also join the conversation on our website. Go to npr.org. Click on TALK OF THE NATION.
I grip the steering wheel and glance at my cell phone in the cup holder. I keep my eyes out for a rest stop. Read More »
September 11, 2012 | by The Paris Review
How fast can you tell a good story? Three times a year, NPR’s “Three-Minute Fiction” challenges listeners to send in the best stories they can write—and read out loud in less than three minutes. So far, more than 45,000 contestants have taken the challenge. It is, in the words of host Guy Raz, the “American Idol of microfiction.”
This Saturday kicks off a new round of “Three-Minute Fiction” with guest judge Brad Meltzer. And with a new first prize—publication in The Paris Review. That’s right: the winner will appear in our Winter issue. So sharpen your pencils, eliminate your unnecessary words, and get ready to write.