Posts Tagged ‘photos’
July 11, 2016 | by Dan Piepenbring
For the third consecutive summer, The Paris Review is delighted to offer a joint subscription deal with the London Review of Books: you’ll get a year of both magazines for the low price of $70 U.S. That’s the best in imaginative writing and the best in essays and commentary: two Reviews in one fell swoop. Already a Paris Review subscriber? Not a problem: we’ll extend your subscription to The Paris Review for another year, and your LRB subscription will still begin immediately.
We’re also in the thick of the third edition of our popular #ReadEverywhere contest. From now through August 31, post a photo or video of yourself reading The Paris Review or the London Review of Books on Instagram, Twitter, Facebook, or Pinterest and use the #ReadEverywhere hashtag and one of our magazines’ handles. (Even fictional celebrities, as you can see above, have found this deal so irresistible as to revise scenes that were believed to be unalterable. It’s that good. Plus, the winner stands to gain a lot: the grand prize is a wide selection of Aesop products.)
If you’re feeling uninspired, take a look at last year’s winners, or you can look at what this year’s competition has already cooked up.
Get yourself a joint subscription and hashtag your way to victory. Don’t let Rocky Balboa win. Our lawyers would never sort it out anyway.
July 5, 2016 | by Dan Piepenbring
Let it never be said that we’re unreliable. For the third consecutive summer, The Paris Review is delighted to offer a joint subscription deal with the London Review of Books: you’ll get a year of both magazines for the low price of $70 U.S. That’s the best in imaginative writing and the best in essays and commentary: two Reviews in one fell swoop.
We’re also launching the third edition of our popular #ReadEverywhere contest—consider 2016 the Die Hard: With a Vengeance or Blade: Trinity of the venerable #ReadEverywhere franchise. From now through August 31, post a photo or video of yourself reading The Paris Review or the London Review of Books on Instagram, Twitter, Facebook, or Pinterest and use the #ReadEverywhere hashtag and one of our magazines’ handles. Apply Snapchat lenses with reckless abandon. Venture to far and distant lands for the sole purpose of reading our magazines in public. After all, you stand to gain a lot: the grand prize is a wide selection of Aesop products. Read More »
June 29, 2016 | by Luc Sante
I plan to exit from my house before the end of the fiscal year. No, I don’t mean I intend to leave it, physically. I’m here in my basement, as I always have been, and where would I go? But I will install a policy of silent noncooperation with the other rooms, beginning with the kitchen. I have long resented the kitchen’s implicit high-handed judgment of my habits, always shaming me with its leafy greens, its ancient grains, its paucity of refined sugars. I well remember those golden years of pizza for breakfast and frosted cereal for lunch with an unlimited supply of carbonated power drinks, and seethe at how I have cravenly allowed the kitchen to dictate a regimen it loftily considers to be better for me, as if it knew. I will make my eating habits great again. Read More »
May 26, 2016 | by Dan Piepenbring
- Raymond Carver’s fiction is good, sure, but you haven’t really lived till you’ve seen the guy’s family photos. His brother, James, has shared a few with a remembrance of Raymond: “I remember the years we shared living together in Sacramento during the midsixties … One of his few jobs in Sacramento was working at Mercy Hospital in housekeeping. He worked three or four hours in the evening but was paid for eight. We both had nothing but spare time; we continued to spend many hours hanging out together, talking, reminiscing, and drinking. We would get in the car and drive with nowhere special to go. We talked about all the moves we and our parents had made looking for happiness. We drank from a bottle of Ten High Bourbon we kept in the glove compartment. One of us would say, ‘Wait until spring.’ The other would say, ‘And things will bust wide open,’ meaning at last, everything would be better for all of us. We both would break into laughter. It was a private joke which we never forgot; Ray mentioned it a year before he died. We always had the ability to laugh at ourselves and our failures.”
- Queen Elizabeth has declared 2016 the Year of Punk, so you know someone had to stand up and flip her the bird. Joseph Corré, the son of Vivienne Westwood and Malcolm McLaren, is doing it right: he “announced yesterday that he will set fire to his entire collection of punk memorabilia, estimated to be worth about £5 million ($7.1 million) … The bonfire is slated to take place in Camden, London, on November 26, to mark the 40th anniversary of the release of the Sex Pistols single ‘Anarchy in the UK’, off the album Never Mind the Bollocks, Here's the Sex Pistols … ‘The Queen giving 2016, the Year of Punk, her official blessing is the most frightening thing I’ve ever heard,’ he says. ‘Talk about alternative and punk culture being appropriated by the mainstream. Rather than a movement for change, punk has become like a fucking museum piece or a tribute act.’ ”
- There is but one effective way of drawing our attention to the inanity of online polls, and that is fake online polls. Jonas Lund’s new online artwork Fair Warning “takes the form of an eccentric online questionnaire or personality test. The pages invite the viewer to input their preferences. Duck or Rabbit? Window or Aisle? Idol or Douche? Apple or FBI? There are multiple-choice questions, photographs of sculptures and paintings, and news images, as well as, occasionally, solid blocks and color gradients. Each time the animated circle at the bottom of the page completes a revolution—this persistent, nagging counter mimics the buffering animations of video streaming sites and the multicolored wait cursor, aka the ‘spinning beach ball of death’ on Apple computers—there is a computerized chime. This happens every four seconds … Other than an animated ripple that appears onscreen each time you click, user input doesn’t affect the metronomic rhythm of the piece. Nor is it clear if your preferences are even being registered.”
- With the rise of the suburbs came an almost simultaneous effort to theorize the suburbs—why had so many families marooned themselves in a new environment, and what was going on there? As Amanda Kolson Hurley writes, midcentury studies of suburbia were far from sunny: “Most strikingly, they reveal deep and widespread concern over the stability of mental and physical health in the new suburban environment … It was a social experiment unprecedented in U.S. history. The first suburbanites themselves were well aware of this. Although they felt the optimism of pioneers, they shared in the widespread anxiety that the experiment might not work, an anxiety that manifested as worries about unanticipated health effects. These ranged from the daily, cumulative frustrations of a Mary Drone to more significant problems: stomach ulcers, heart attacks, anxiety, depression, sexual dysfunction, and juvenile delinquency.”
- Or you can look at perhaps the suburbs’ most successful export, the mall. Alex Cocotas, being shown around on a visit to Tel Aviv, discovered how thoroughly the mall has metastasized abroad: “We weren’t there to take a dip in the Mediterranean or to feel the sand bunch between our toes; we were not there to admire the yachts or to dream of their interior lives. We were there to go to the mall. We walked down a passageway between the boats and a row of restaurants, and entered a world that was virtually indistinguishable from its American counterparts: multistoried, brightly lit, oozing an arctic tundra of air conditioning from unseen pores, perfumes enticingly wafting from open-door oracles to the ever-confounding enigma of next season, stores bearing a familiar, supranational aesthetic, cellphone stands clotting up busy causeways between them. Everything aspired to that same ethereal timelessness, a fantasy of pure transaction … Why take a foreign traveler to a mall at all? The way I see it, the mall trip is meant to communicate a message about the local culture—who they are, their country, their standard of living. They are taking me to the mall because there is a mall.”
April 8, 2016 | by Dan Piepenbring
Our Spring Revel was this Tuesday, and we have the pictures to prove it.
Hundreds convened at Cipriani 42nd Street to honor Lydia Davis with the Hadada Award. She received it from her high school classmate Errol Morris—“We played in the high school orchestra together,” she explained, “and he played the cello, and I played the violin. And I don’t know how well he played the cello, but I know I didn’t play the violin very well. So we were promising young musicians together.” Morris expressed a particular fondness for her essay on translating Madame Bovary, calling it “one of my favorite things ever.”
Davis’s speech was entirely improvised—or nearly entirely. She’d found herself “scrawling little notes in very small handwriting on a jiggling train” to New York, she said. Her husband, Alan Cote, attempted some encouragement, she told the crowd: “ ‘You know, Lincoln wrote the Gettysburg Address on the train.’ And I told him, Yes, that was probably easier.”
John Guare took the stage to award Chris Bachelder the Terry Southern Prize for Humor. Bachelder regaled the crowd with a story of the Review’s fact-checking prowess—suffice to say he’ll never again forget which pole the penguins come from. (Hint: not the North Pole.) He told us,
One of the paradoxes of the writing life is that, as you gain experience, you actually have fewer paths forward, and fewer habitable stances, and one stance that I find currently habitable is a kind of grave playfulness. And that’s a stance, among others, that The Paris Review supports and has always supported. And I think you can take that from a guy wearing a suit holding a model airplane.
David Szalay received the Plimpton Prize for Fiction from Rachel Kushner. “He may be new to me, and to the pages of The Paris Review,” she said, “but he’s a fully developed writer, whose wisdom, skill, and precision, whose sardonic wit, all come through wonderfully, leaving no awkward seams of labor or vanity.”
Take a look at the photos below—and we hope to see you next year!
Photos by Clint Spaulding / © Patrick McMullan / PatrickMcMullan.com Read More »
February 2, 2016 | by Geoff Dyer
Have you ever stayed at the Four Seasons Hotel in Mumbai? I'd warmly recommend it. It’s super luxurious and, right next door, there’s a classic slum. So you can do a quick slum tour and get back to your sanctuary without any inconvenience but with some excellent snaps. The great Indian photographer Raghubir Singh termed this genre of photography “the abject as subject.” It has a long and distinguished history—and not just in what used to be called the Orient. In the 1930s, photographers such as Walker Evans and Dorothea Lange produced images of sharecroppers and Okies, which drew attention both to the conditions in which these unfortunates found themselves and to their heroic fortitude. This resilience was easily incorporated into the ideology of ceaseless endeavour that continues to underpin the system of exploitation that condemned them to destitution in the first place. It’s just that now, instead of loading up your jalopy and heading for California, you take a second, badly paid job; The Grapes of Wrath has turned into Nickel and Dimed. The iconic photographs of the Great Depression, meanwhile, have acquired a kind of stonewashed glamour.