Posts Tagged ‘Peter Matthiessen’
March 24, 2016 | by The Paris Review
“An Indulgence of Authors’ Self-Portraits” appeared in our Fall 1976 issue, the same year Burt Britton’s book Self-Portraits—Book People Picture Themselves was published. Britton’s book displays his collection of self-doodles by famous authors, artist, athletes, actors, and musicians, much of which was sold at auction in 2009. “So what does Mr. Britton look like?” asked the New York Times in 2009. “He refused to be photographed.” —Jeffery Gleaves
One evening fifteen years ago Burt Britton (now head of the Review department at the Strand Bookstore) and Norman Mailer were sitting together in the Village Vanguard where Britton then worked. On impulse, Britton asked Mailer for a self-portrait. Mailer complied—the first of a collection which began to fill the pages of a blank book in the Strand. These were done by friends—primarily writers—who entered their drawings and salutations when they visited the store. No one has refused him a self-portrait. When he remarked on James Jones’ generosity, Jones explained, “Burt, for Christ’s sake, I wouldn’t be left out of that book!”
As his collection grew, Britton was approached by a number of publishers, but always refused publication on the grounds that the self-portraits were the property of his private mania. But recently Anais Nin and others have persuaded him to let others in on how writers view themselves. Random House will publish the entire collection this fall under the title, Self-Portraits—Book People Picture Themselves. Many of the portraits reproduced here are by writers who have been published and/or interviewed in this magazine. Read More »
June 24, 2015 | by William Styron
The Paris Review could have been named Weathercock—and other early memories from an editor emeritus.
A new collection of William Styron’s nonfiction, My Generation, includes this reminiscence on the origins of The Paris Review; this piece first appeared in 1959, as Styron’s introduction to The Best Short Stories from The Paris Review.
Memory is, of course, a traitor, and it is wise not to trust any memoir which lends the impression of total recall. The following account of the founding of The Paris Review comprises my own recollection of the event, highly colored by prejudice, and must not be considered any more the gospel than those frequent narratives of the twenties, which tell you the color of the shoes that Gertrude Stein wore at a certain hour on such and such a day…
The Paris Review was born in Montparnasse in the spring of 1952. It was, as one looks back on it through nostalgia’s deceptive haze, an especially warm and lovely and extravagant spring. Even in Paris, springs like that don’t come too often. Everything seemed to be in premature leaf and bud, and by the middle of March there was a general great stirring. The pigeons were aloft, wheeling against a sky that stayed blue for days, tomcats prowled stealthily along rooftop balustrades, and by the first of April the girls already were sauntering on the boulevard in scanty cotton dresses, past the Dome and the Rotonde and their vegetating loungers who, two weeks early that year, heliotrope faces turned skyward, were able to begin to shed winter’s anemic cast. All sorts of things were afoot—parties, daytime excursions to Saint-Germain-en-Laye, picnics along the banks of the Marne, where, after a lunch of bread and saucissons and Brie and Evian water (the liver was a touch troubled, following a winter sourly closeted with too much wine), you could lie for hours in the grass by the quiet riverside and listen to the birds and the lazy stir and fidget of grasshoppers and understand, finally, that France could be pardoned her most snooty and magisterial pride, mistress as she was of such sweet distracting springs. Read More »
December 30, 2014 | by Dave Tompkins
We’re out until January 5, but we’re re-posting some of our favorite pieces from 2014 while we’re away. We hope you enjoy—and have a happy New Year!
Reading Peter Matthiessen in the Everglades.
I first encountered Peter Matthiessen in a hurricane, with the roof-flown certainty that we’d never meet again. Just passing through, the memory blurs at 135 mph. I was in the Bahamas reading Killing Mister Watson, sweating out a Category 4, trying to concern myself with an Everglades outlaw who produced excellent cane syrup and, in the wake of his murder, a bunch of conflicting yarn-burners. I only made it through the beginning, apparently no further than E. J. Watson himself, ventilated by thirty-three neighborly slugs upon stepping off his boat and into his own lore. This just after the hurricane of 1910 had wasted Chokoloskee. Announced by a comet, the storm upchucked the marl, catapulted Watson’s infant son through the mangroves, and, as Matthiessen had it, “blew the color right out of the world.”
My hurricane merely blew the color out of the TV. With an earful of low-pressure williwaw, I had problems getting all those Watson thoughts inside my head, preparing to duck shard as the windows bowed, wondering if the author’s next word would be my last. Kind of a morbid, if not meteorologic, approach to one’s literature, imagining the final line that accompanies you and your velocity into the whateverafter, joining LeQuinn Bass (last words: “Well, shit”), the Owl Man of Deep Wood (“Finish it”), Belle Starr (a screech—she was shot in the back, off her horse), and whomever else Bloody Watson managed to ether before it was all said and blown away. The last thing you’d want to read should be the first. Read More >>
November 10, 2014 | by Sadie Stein
In early April, Peter Matthiessen, the beloved cofounder of The Paris Review, died at eighty-six. Last week, I received an e-mail from my mother, containing a link to the following announcement:
THE ESTATE OF THE LATE
RENOWNED AUTHOR &
A treasure trove of artifacts and mementos. Both indigenous and from the 4 corners of the Earth.
Artisanal pottery, vintage typewriters, vast assortment of books, many annotated paintings, prints, photography and posters. Vintage LP collections in original portfolios, Early 20th century American piano table, 19th century French country dining table, additional chairs, tables, chests, beds, headboards, bedding, cookware, tableware, table linens, vintage luggage, toys and games, Vermont casting grill, teak picnic table, and much more!
Children under 10 must be closely attended by an adult. Please be respectful of neighbors when parking.
The subject line of the e-mail read, “Of course, we’ll be there!” (My parents live just down the road.) Read More »
September 10, 2014 | by Lewis Lapham
This remembrance of our founding editor, Peter Matthiessen, originally appeared in the Summer 2014 issue of Hotchkiss Magazine; we’re grateful to the staff and to Lewis Lapham for allowing us to publish it.
I first encountered Peter Matthiessen in the summer of 1949, on a beach at Fishers Island where he soon was pointing out the sights to be seen if one had the wit to see them—seven or eight species of seabird inshore and offshore, the likely change in the weather inferred by the wind veering around to the south, the Latin name for a nearby snake or crab, the probable catch in the hold of a trawler bearing east by north on the far horizon.
The meeting had been called by my godmother and Peter’s father, long-abiding friends whose houses on the island were a short distance from one another; by both parties it was thought that Peter could tell me what to look out for at the Hotchkiss School, from which Peter had graduated in 1945 and at which I was a member of the class embarking upon its lower middle year. I was fourteen, Peter seven years older, a senior at Yale tormenting himself with the ambition to become a writer of important books. Literature in those days was understood to be a noble calling, the high and not easily traveled road to light and truth.
The first question put to Peter about Hotchkiss proved to be the last. He didn’t wish to discuss what he deemed to be an ornamental pillar of the bourgeois status quo, and so as the afternoon went on (many fish to be seen and named, further sightings of sandpipers and gulls) I was surprised by the likeness of his interests and turns of mind to those of Mr. George Van Santvoord, the headmaster of the school with whom Peter seemed to share not only a love of words and nature but also the courage to lead an examined and examining life. Before the day was done I’d compounded the likeness of Mr. Van Santvoord with that of the druid, Merlyn, in T. H. White’s The Sword in the Stone, one of the books on the school’s list of suggested summer reading. By the time I returned to the lamps being lit on my godmother’s sundeck, it had occurred to me that Peter’s teachings on the shore of the Atlantic Ocean not only resembled those of Mr. Van Santvoord’s to the Hotchkiss woods squad but also those that under the walls of Camelot Merlyn had vouchsafed to the young King Arthur: Read More »
May 5, 2014 | by Dan Piepenbring
American Masters’s Plimpton! Starring George Plimpton as Himself premieres nationally Friday, May 16, on PBS. The network has released a few short clips in advance, and they paint a pretty picture of life at the Review under the Plimp’s tenure. The portion above finds Robert Silvers, Jonathan Dee, and others reflecting on Plimpton’s business acumen—or triumphant lack thereof—and the relaxed tenor of his leadership. “I think it meant a lot to him to have this kind of camp,” Silvers says. “It was a whole little world, you might say. And he was the king of it. And he was a ringmaster, you might say, of a little circus there.”
Below, Peter Matthiessen, who died last month and who had been the last living founder of the Review, discusses the magazine’s ambitions—its approach to fiction and poetry, and its early coups with interviews.