Posts Tagged ‘Rich Cohen’
April 10, 2015 | by J. C. Gabel
At the time of her death, at age thirty-nine, Flannery O’Connor had published only two novels, thirty-one short stories, and a small book’s worth of literary criticism and critical essays. “In most English classes,” she once wrote, “the short story has become a kind of literary specimen to be dissected.” O’Connor, of course, was referring to her readers experiencing the work, not picking it apart in a writers’ workshop. That same principle drove Charlotte Strick and June Glasson in their recent redesign of the covers of O’Connor’s five books. Strick, the former art director of Farrar, Straus and Giroux and current coprinciple of the design firm Strick&Williams (as well as the art editor of The Paris Review), approached Glasson, an illustrator, about the project in 2013. Four of the five redesigned jackets have been released, with the last coming next month.
Glasson and Strick met through happenstance—a journey that began at a doctor’s office. “Years ago,” Strick says, “while absentmindedly flipping through a magazine in my doctor’s waiting room, I serendipitously stumbled upon a piece about June. I thought her work had a strange, seductive and unique beauty all its own.”
In 2012, Strick commissioned Glasson to create illustrations to accompany an essay by author Rich Cohen about French-American pirate Jean Lafitte and 1800s piracy in New Orleans, which appeared in The Paris Review no. 201. This collaboration triggered Strick’s art-director instinct, and she returned to Glasson when it came time to reenvision O’Connor’s works. “June is capable of imbuing her paintings with a curious maleficence,” Strick told me. “She seemed up for the task of tackling O’Connor.” Read More »
August 1, 2012 | by Charlotte Strick
Years ago, while biding my time at a doctor’s office, fortuitously flipping through a stack of well-exhausted magazines, I spotted an article on affordable portraiture. June Glasson was one of the featured artists, and I scribbled her name down and contacted her later to do a drawing of my better half as part of her “Near and Dear” series. My husband and I had many times joked about how we wished we were royalty, deserving of grand portraits. June captured my husband so completely that I’m sometimes taken aback by the likeness. My twin toddlers frequently point to it and announce “Da-da!” with great delight.
June was a natural choice to do illustrations to accompany Rich Cohen’s “Pirate City” essay in the current issue. I’m drawn to her gorgeous layers of colored ink that make using this unforgiving medium look easy. She paints landscapes and people with equal charm and interest. As June lives in Wyoming, she was kind enough to be interviewed via e-mail and to send photographs of an enviable studio space filled with natural light and plenty of inspiration.
June 25, 2012 | by Noah Wunsch
To celebrate the release of The Paris Review’s Summer issue, we put together a little video that takes you inside the pages of 201.
In case you’ve forgotten, the issue features Tony Kushner and Wallace Shawn on the art of theater; new fiction from Sam Lipsyte and Ann Beattie; nonfiction by Davy Rothbart, Ludmilla Petrushevskaya, Rich Cohen, and J.D. Daniels; a portfolio curated by Waris Ahluwalia; and poetry by Sophie Cabot Black, Roberto Bolaño, Raúl Zurita, John Ashbery, Octavio Paz, Lucie Brock-Broido, and David Ferry.
June 6, 2012 | by The Paris Review
Unlike some magazines, we don’t do “theme” issues. And yet, as we collected the material that makes up 201, we couldn’t help notice that the issue had a decidedly ... dramatic bent. Not just interviews with Tony Kushner and Wallace Shawn, but Ann Beattie’s story, “The Astonished Woodchopper,” featuring just that; a Sam Lipsyte story about a modern-day duel; Roberto Bolaño poems about sex and betrayal; Rich Cohen on pirates; Waris Ahluwalia on animal attraction; Davy Rothbart telling the true story of the best night of his life; plus, J.D. Daniels directing you to eat your parents.
In some ways the Internet is definitely an enemy. This morning I was going to work on a Lincoln rewrite before I came to meet you. A couple of days ago I biked all over Provincetown looking for a needle threader—you know, one of those old-fashioned little tin discs with a cameo on it and a thin wire loop sticking out. I found one and bought it. I’m trying to teach myself how to needlepoint. I even considered bringing my needlepointing here, needlepointing during the interview, but then what would you think? Anyway, I bought this needle threader, but it was crap–two uses into it, the thing broke. So, this morning before working on Lincoln, I decided I would go online and find a really good needle threader. And who knew that on Amazon alone, there are dozens of needle threaders? So I started thinking, Why does this needle threader have five starts and this one four and a half? And this one only has two, isn’t that interesting? Can you imagine who got this needle threader and was really disappointed? And then, it’s like, Oh my God, it’s ten o’clock! I didn’t do any work.
I wish there were more plays about a life that is exactly like mine. I would love that! If the program says, ‘An apartment in Manhattan today,’ I’m thrilled! And if it says, ‘An apartment in Chelsea, in Manhattan, today,’ where I live, I’d be even more thrilled. I’m amazed if I can see an actor imitate someone with a French accent—that’s fantastic—and I’m even more excited if an actor can illuminate the psychological state of a person similar to me and the people I know. So I do like naturalistic theater. But I like many kinds of theater.
Plus, poetry from John Ashbery, Sophie Cabot Black, Raúl Zurita, Octavio Paz, Lucie Brock-Broido, and David Ferry; nonfiction by Ludmilla Petrushevskaya; and a new translation of Virgil.