Posts Tagged ‘Stephen Dunn’
September 1, 2015 | by The Paris Review
I like the idea of writing a poem I could have written thirty years ago. I’m the factory. My writing fears manifest more on the order of my inability to stop being Eileen Myles. I guess I don’t worry about my poems so much. I worry about me.
Myles also shares a few of her favorite artworks in our portfolio.
And our managing editor Nicole Rudick discusses the Art of Fiction with Jane Smiley:
One of the things I love about novels is that, in addition to offering good stories and having ideas about how the world works, they’re also artifacts about the details of the time in which the author lived … I would imagine somebody in a hundred years reading one of my novels and going, Are you shitting me? The shingles were going the wrong direction? Or, What are shingles?
There’s also one of James Salter’s final lectures; new fiction from Ottessa Moshfegh, Patrick Dacey, and Deborah Eisenberg; the second installment of Chris Bachelder’s novel The Throwback Special, with illustrations by Jason Novak; poems by Ange Mlinko, Eileen Myles, Michael Hofmann, Stephen Dunn, Kevin Prufer, Geoffrey G. O’Brien, Nathaniel Mackey, and Linda Pastan; and an essay by Robert Anthony Siegel.
March 2, 2015 | by The Paris Review
We also have the first-ever in-person interview with Elena Ferrante, on the art of fiction:
As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me … At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them … Even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men.
And Lydia Davis, on her approach to the short story, to translation, and to naming:
I’ve always felt that naming was artificial. I’ve done it. I wrote about one woman and called her Mrs. Orlando, because the woman I based her on lived in Florida. Recently I wrote a story called “The Two Davises and the Rug” because I have a neighbor named Davis and he and I were trying to decide which one should end up with a certain rug, and I was very fond of using that name, even though it wouldn’t make much difference to anybody if I called it “The Two Harrises and the Rug.”
Plus, Hilary Mantel discusses her Cromwell books and the difference between historians and novelists:
Nobody seems to share my approach to historical fiction. I suppose if I have a maxim, it is that there isn’t any necessary conflict between good history and good drama. I know that history is not shapely, and I know the truth is often inconvenient and incoherent. It contains all sorts of superfluities. You could cut a much better shape if you were God, but as it is, I think the whole fascination and the skill is in working with those incoherencies.
There’s new fiction by Angela Flournoy, Ken Kalfus, and Mark Leyner, the winner of this year’s Terry Southern Prize; a novella by James Lasdun; and poems from Charles Simic, Peter Gizzi, Major Jackson, Stephen Dunn, Susan Stewart, Shuzo Takiguchi, Craig Morgan Teicher, and Sarah Trudgeon.
Mel Bochner, who designed a cover for the magazine back in 1973, is back with a portfolio of thesaurus paintings. And last, there’s “Letter from the Primal Horde,” an essay by J. D. Daniels about a fateful experience at a group-relations conference.
September 2, 2014 | by The Paris Review
You may recognize the distinctive hand behind our autumnal cover art—that’s Chris Ware, who’s interviewed in this issue about the Art of Comics:
I just figured there must still be various ways to make art “about” something without making it bad or sentimental. Comics basically seemed a way toward this goal for me … I think cartooning gets at, and re-creates on the page, some sixth sense—of space and of being in a body—in a way no other medium can quite so easily, or at least so naturally.
Then there’s our interview with Aharon Appelfeld:
My nights are a nightmare, quite often, but the nightmares are rich—rich in human behavior, rich in feelings, rich in sensations. I nourish myself by those nights. They nourish me.
And in the Art of Fiction No. 225, the Nobel Prize–winner Herta Müller discusses her early fascination with plants (“They knew how to live and I didn’t”), life under Ceauşescu, and her approach to the sentence:
I’m not hungry for words, but they have a hunger of their own. They want to consume what I have experienced, and I have to make sure that they do that … The language knows where it has to wind up. I know what I want, but the sentence knows how I’ll get there.
There’s also an essay by David Searcy; the final installment of Rachel Cusk’s novel Outline, illustrated by Samantha Hahn; fiction by David Gates, Atticus Lish, and Alejandro Zambra; and poems by Karen Solie, Stephen Dunn, Maureen M. McLane, Devin Johnston, Ben Lerner, Frederick Seidel, Linda Pastan, and Brenda Shaughnessy.
And finally, a portfolio of letters between George Plimpton and Terry Southern, circa 1957–58, in which Southern writes of this magazine, “[its] very escutcheon has come to be synonymous (to my mind at least) with aesthetic integrity, tough jaunty know-how, etc.”
Get yourself some of that integrity and know-how—subscribe now!
February 27, 2013 | by The Paris Review
If you happened to be in Paris this past month, and walked past the public toilets at the corner of rue Alexandre Dumas and boulevard de Charonne, you may have noticed a giant picture of George Plimpton’s face gazing out over the 11th arrondissement with great benignancy and just the slightest possible suggestion of a gueule de bois. This illegal memorial to our founding editor, by the poster artist JR, celebrates the sixtieth birthday of The Paris Review in the city of her birth.
It happens also to be the cover of our special anniversary issue.
Deborah Eisenberg talks failure and perseverance with Catherine Steindler—
You write something and there’s no reality to it. You can’t inject it with any kind of reality. You have to be patient and keep going, and then, one day, you can feel something signaling to you from the innermost recesses. Like a little person trapped under the rubble of an earthquake. And very, very, very slowly you find your way toward the little bit of living impulse.
Mark Leyner talks process with Sam Lipsyte—
When I was at Brandeis, I met this girl named Rachel Horowitz, and we really loved reggae music. This was in 1970. We decided, Why don’t we go to Jamaica? So we went and we got some really nifty little bungalow place in Montego Bay—very cheap, because we couldn’t afford much then. And it had a little pool for the couple of bungalows and a little kitchen. And I’d never really stayed in place like this on my own, with a girlfriend. I mean, nothing quite like that. I had been away the year before with another girl, took a trip to Israel and in Europe and things, but I’d never been in a groovy tropical place like this. And we had a car, so one day we drove into town and got some stuff, because we had a refrigerator and a pantry. We also got some Red Stripe. And this guy at Brandeis had given me some acid to bring to Jamaica. This guy was like the Johnny Appleseed of acid. He would take a load of acid and explain an album cover to you for just hours. He would take a Hot Tuna album that you had seen a trillion times and he would begin to examine it with these long lectures that were like Fidel Castro giving a lecture at the Sorbonne. He also once set his hand on fire and watched it for quite a while because he was so high. That really impressed me. Anyway, this guy had given me some acid and one night, when Rachel and I were just hanging out in the hotel, I said, You wanna take some? She said no. I said, Okay, I think I’m going to. So I took it, and it comes on, and then I want a beer and I go into the little kitchen, and by now the acid’s full on and this guy, this big flying cockroach, like a palmetto bug—you know those things?—it crawls out of the six-pack, and to me, at the time, it was like a pterodactyl, in some Raquel Welch movie set in prehistoric times. According to Rachel, I batted this thing in the little kitchen for, like, five hours. She heard pans and things breaking and she said I emerged with a torn shirt, sweaty—and victorious. That’s what my experience of writing The Sugar Frosted Nutsack was like. Battling this pterodactyl in the closet with a pan. At a certain point, of course, the book attained a mind of its own, a subjectivity or an autocatalytic, machinelike quality.
And Willa Kim shows us her store of Paris Review erotica.
Plus, fiction by Adelaide Docx, David Gates, Mark Leyner, Ottessa Moshfegh, Adam O’Fallon Price, and Tess Wheelwright. Poetry by Sylvie Baumgartel, Peter Cole, Stephen Dunn, John Freeman, Tony Hoagland, Melcion Mateu, Ange Mlinko, Frederick Seidel, and Kevin Young. Essays by Vivian Gornick and David Searcy.
On newsstands March 15. Subscribe now!