Posts Tagged ‘Zadie Smith’
January 23, 2015 | by Laura Smith
The literature of the fear of flying.
Before takeoff, when the flight attendants are acting out the ways we’ll save ourselves in the event of a catastrophe, the same thought always occurs to me: it is possible not to fly. Plenty of people with enviable careers, even careers that require frequent travel, have managed it. The NFL’s John Madden travels across the country in his “Madden Cruiser,” a customized coach bus. Liz McClarnon, the British pop singer and member of the Atomic Kittens, hasn’t been on a plane in four years. Sean Bean (Game of Thrones’s Ned Stark) drives to all of his European film locations. He was finally forced onto a plane to shoot The Lord of the Rings in New Zealand, though he refused the helicopter ride to top of the mountain where they were filming, forcing the rest of the cast to wait while he walked up.
Those of us with aviophobia know that flying is safe—it just doesn’t feel safe. During takeoff, the plane forces itself diagonally into the air, pinning us to our seats. We feel the strain as the engines grind, trying to lift an enormous, metal, bird-shaped machine packed with humans into the sky. Why did anyone ever think this was a good idea? The air is not our natural element; the first powered plane only stayed up for twelve seconds. At thirty thousand feet, the sounds are unnerving. The poet James Dickey wrote, “There is faintly coming in / Somewhere the vast beast-whistle of space.” It’s hard to think of any sound more terrifying. Read More »
October 8, 2014 | by Dan Piepenbring
- Essays—essais, essayes—what are they, how are they, where did they come from, why can’t we seem to settle on the meaning of them, is Montaigne to blame for all this, or Francis Bacon or maybe King James, and what’s the meaning of all this “attempting” anyhow … John Jeremiah Sullivan aspires (don’t make me say essays) to find out.
- Horace Engdahl, who helps to judge the Nobel Prize in Literature, laments the “professionalization” of writing in the West: “I think it cuts writers off from society, and creates an unhealthy link with institutions … Previously, writers would work as taxi drivers, clerks, secretaries, and waiters to make a living. Samuel Beckett and many others lived like this. It was hard—but they fed themselves, from a literary perspective.”
- Relatedly: “A growing number of biographers and historians are retrofitting their works to make them palatable for younger readers … And these slimmed-down, simplified and sometimes sanitized editions of popular nonfiction titles are fast becoming a vibrant, growing and lucrative niche.”
- Zadie Smith on a certain famous populous island: “Manhattan is for the hard-bodied, the hard-minded, the multitasker, the alpha mamas and papas. A perfect place for self-empowerment—as long as you’re pretty empowered to begin with. As long as you’re one of these people who simply do not allow anything—not even reality—to impinge upon that clear field of blue. There is a kind of individualism so stark that it seems to dovetail with an existentialist creed: Manhattan is right at that crossroads. You are pure potential in Manhattan, limitless, you are making yourself every day.”
- “An intellectual is a person who is mainly interested in ideas. I am an aesthete—a person who is mainly interested in beauty. Nowadays the word aesthete carries with it the musty reek of high Victoriana. Still, there remains no better word to describe the way certain people—people like me—view the world.”
June 2, 2014 | by The Paris Review
That adorable canine on the cover is Boo, a shaggy brown Brussels griffon and an habitué of our old loft on White Street. Boo’s owner (and portraitist) is Raymond Pettibon, whose portfolio, “Real Dogs in Space,” is at the center of issue 209, fit for consumption in the dog days of summer.
Then there’s our interview with Joy Williams—whose stories have appeared in The Paris Review since 1969—on the Art of Fiction:
What a story is, is devious. It pretends transparency, forthrightness. It engages with ordinary people, ordinary matters, recognizable stuff. But this is all a masquerade. What good stories deal with is the horror and incomprehensibility of time, the dark encroachment of old catastrophes—which is Wallace Stevens, I think. As a form, the short story is hardly divine, though all excellent art has its mystery, its spiritual rhythm.
And in the Art of Poetry No. 98, Henri Cole discusses his approach to clichés (“I like the idea of going right up to the edge of cliché and then stopping”), his collages, and his contempt for the sentimental:
Oh, I hate sentimentality. Heterosexual men are more susceptible to it than women, because middle age keeps telling them they’re gods. This is not true for women, however, who are often discarded. Is it possible that we can more readily see the bleakness of the human condition if life has been a little harder for us? Nothing kills art faster than sentimentality.
There’s also an essay by Andrea Barrett; fiction from Zadie Smith, J. D. Daniels, Garth Greenwell, Ottessa Moshfegh, and Shelly Oria; the third installment of Rachel Cusk’s novel Outline, with illustrations by Samantha Hahn; and new poems by Henri Cole, Charles Simic, Ange Mlinko, Nick Laird, Rowan Ricardo Phillips, Les Murray, Adam Kirsch, Jane Hirshfield, and Thomas Sayers Ellis.
It’s an issue that, like Boo, commands immediate and frequent affection, and will keep you enthralled for years to come.
May 6, 2014 | by John Jeremiah Sullivan
At our Spring Revel last month, John Jeremiah Sullivan presented the Hadada Award to Frederick Seidel. Sullivan’s remarks follow, along with three of Seidel’s poems, which were read aloud that night: “Downtown,” read by Zadie Smith; “Frederick Seidel,” read by Martin Amis; and “The Night Sky,” read by Uma Thurman.
As a kind of offsite, ersatz staff member at The Paris Review, I claim the pleasure both of thanking you all for your presence here, and of thanking everyone at the Review—Lorin, and the board, and my colleagues there—for giving me the honor of announcing this award. I don’t think I’ve ever used the word honor in a less glib manner.
When you are in your twenties and living in the city, or any city, or anywhere, and trying to write, there are poets whose work will come to mean something to you beyond pleasure, beyond even whatever we have in mind when we use the word inspiration, and into the arena of survival, into what the poet whose work we are celebrating tonight describes as the “what will save you factor.”
When I was in my twenties and living in New York, the poet who came to mean that for me and a lot of the other younger writers and editors I knew was one named Frederick Seidel, a poet who had come, like another we’d heard about, from St. Louis via Harvard, and from there, via everywhere. Read More »
April 15, 2014 | by Dan Piepenbring
Zadie Smith’s story “Miss Adele Amidst the Corsets” appears in our latest issue, and we’re delighted to announce that, as of today, you can read it online in its entirety. But “Miss Adele” won’t be gracing the Internet in perpetuity; it’s only available while our Spring issue is on newsstands. Subscribe to The Paris Review and you’ll have constant, round-the-clock, 24/7/365 access to this story and a wealth of others, anytime, anywhere, anyhow—digitally, in print, and perhaps in media yet to be invented.
“Well, that’s that,” Miss Dee Pendency said, and Miss Adele, looking back over her shoulder, saw that it was. The strip of hooks had separated entirely from the rest of the corset. Dee held up the two halves, her big red slash mouth pulling in opposite directions.
“Least you can say it died in battle. Doing its duty.”
“Bitch, I’m on in ten minutes.”
“When an irresistible force like your ass … ”
“Meets an old immovable corset like this … You can bet as sure as you liiiiiive!”
“It’s your fault. You pulled too hard.”
“Something’s gotta give, something’s gotta give, SOMETHING’S GOTTA GIVE.”
“You pulled too hard.”
“Pulling’s not your problem.” Dee lifted her bony, white Midwestern leg up onto the counter, in preparation to put on a thigh-high. With a heel she indicated Miss Adele’s mountainous box of chicken and rice: “Real talk, baby.”
Read the whole story.
March 3, 2014 | by Dan Piepenbring
Our new Spring issue is full of firsts. That fellow on the cover is Evan Connell, whose first novel, Mrs. Bridge, originated as a short story in our Fall 1955 issue.
Then there’s our interview with Matthew Weiner, the creator of Mad Men—the first Art of Screenwriting interview to feature a television writer. Weiner discusses the influence of T.S. Eliot, John Cheever, Alfred Hitchcock, and The Sopranos on his work:
Mad Men would have been some sort of crisp, soapy version of The West Wing if not for The Sopranos. Peggy would have been a climber. All the things that people thought were going to happen would have happened … The important thing, for me, was hearing the way David Chase indulged the subconscious. I learned not to question its communicative power.
And in the Art of Nonfiction No. 7, Adam Phillips grants us our first-ever interview with a psychoanalyst; he discusses not just his writing but his philosophy, and the importance of psychoanalysis:
When people say, “I’m the kind of person who,” my heart always sinks. These are formulas, we’ve all got about ten formulas about who we are, what we like, the kind of people we like, all that stuff. The disparity between these phrases and how one experiences oneself minute by minute is ludicrous. It’s like the caption under a painting. You think, Well, yeah, I can see it’s called that. But you need to look at the picture.
There’s also our first story from Zadie Smith; fiction from Ben Lerner, Luke Mogelson, and Bill Cotter; and the second installment of Rachel Cusk’s novel, Outline, with illustrations by Samantha Hahn. Plus new poems by John Ashbery, Dorothea Lasky, Carol Muske-Dukes, Geoffrey G. O’Brien, Nick Laird, and the inimitable Frederick Seidel, who will be honored with the Hadada Award next month at our Spring Revel.
And a portfolio of previously unpublished photographs by Francesca Woodman.
It all adds up to an issue sure to put a spring in your step.