Posts Tagged ‘pseudonyms’
April 21, 2016 | by Matthew Thurber
April 5, 2016 | by Dan Piepenbring
At 92Y’s Unterberg Poetry Center, The Paris Review has copresented an occasional series of live conversations with writers—many of which have formed the foundations of interviews in the quarterly. Recently, 92Y and The Paris Review have made recordings of these interviews available at 92Y’s Poetry Center Online and here at The Paris Review. Consider them deleted scenes from our Writers at Work interviews, or directors’ cuts, or surprisingly lifelike radio adaptations.
This week we’re debuting four new recordings from the series, and first up is John le Carré, who spoke to our founding editor George Plimpton back in October 1996—their conversation formed the basis of Le Carré’s Art of Fiction interview in the magazine the next year. Here, he touches on his discovery of his character George Smiley, his experience with intelligence services, and how he chose his inimitable pseudonym: Read More »
February 11, 2015 | by Dan Piepenbring
Richard Price and the evolving role of pseudonyms.
Richard Price’s new novel, The Whites, isn’t by Richard Price, except that it is. It’s by Harry Brandt, Price’s pseudonym, but it’s also not really by Brandt—Price’s name is on the cover, too, and so Price is Brandt, obviously, and it follows then that Brandt is Price, and thus, uh …
Let’s start over.
Richard Price’s new novel, The Whites, is by Richard Price writing as Harry Brandt. It says so right there on the cover. Big deal, you might say; another author slumming it in genre fiction by creating a false identity for himself. But by publishing both his name and his pseudonym on the cover, Price has parted with centuries of pseudonymous convention. He hasn’t just pulled back the curtain. He’s brought up the house lights and waved to the audience. And he did it all, according to the New York Times, because he got sort of annoyed. Read More »
July 1, 2014 | by Dan Piepenbring
- The nineteenth century “had its own explosion of media … Much as with today’s web, people complained there was too much to read … The solution to overload? For tens of thousands of Americans, it was the scrapbook.”
- Authors turn to pseudonyms for a number of reasons—some strange, some prosaic, some almost metaphysical. In Sarah Hall’s case, the problem was another Sarah Hall: “I could never be published as me. Someone had got there first … my agent reminded me, gently: ‘I really don’t think you can be Sarah Hall.’”
- An interview with Jeff Sharlet, whose new book looks at religion in America: “In nine out of ten cases ‘spirituality’ is a con—not a con by the person invoking it, but a con on that person. It offers the illusion of individual choice, as if our beliefs, or our rejection of belief, could be formed in some pure Ayn Randian void … We’re caught up in a great, complicated web of belief and ritual and custom. That’s what I’m interested in, not the delusion that I’m some kind of island.”
- “It felt like the water was rising and lapping just under my nose … I really began to wonder whether my career was over.” Classical musicians contend with stage fright.
- Soviet concept cars from the fifties and sixties show what might have been, had futurism held its grip on the national imagination—these sleek, modular vehicles are a striking counterpoint to the American cars of the era.
July 15, 2013 | by Sadie Stein
May 6, 2013 | by Luling Osofsky
Pen names have long been a means for writers to inhabit another identity—to attain privacy, assume the acceptably literate gender, or play with the freedom of a psychic unburdening. But at what point does a pseudonym become obfuscation, transgression? What happens when a poem of witness—a poem set in the aftermath of the August 6, 1945 atomic bombing of Hiroshima, a poem more compelling than many of its peers for its haunting, even oblique and morbid surrealist humor—is in fact written by a middle-aged white community college professor named Kent Johnson, rather than a hibakusha, or actual Hiroshima survivor?