Nicole Eisenman, Black Pepper Marlboro, ca. 1993, ink and mixed media on paper, 22″ x 30″. Courtesy the artist and Anton Kern Gallery, New York. © Nicole Eisenman.
Congratulations to the MacArthur Foundation’s Class of 2015, four of whom you can find in the pages of The Paris Review and here on the Daily.
There’s Ta-Nehisi Coates, who wrote in praise of Jennifer Grotz’s poem “Poppies” for us a few years ago: “Grotz writes of our constant desire to tame the world, and even the righteousness of that desire … She writes of the anguish that ultimately comes from trying … and then, finally, our sadness at the whole thing.”
And in our new Fall issue you may have noticed Nicole Eisenman’s painting Black Pepper Marlboro, part of a portfolio curated by Eileen Myles. “I think of Nicole Eisenman running straight out from childhood, yelling,” Myles writes: “She’s the unusual female who isn’t at all broken, but loves brokenness. This is her kingdom, all heraldry, the clan of advertising and products bleeding into each other, raucously, in our heads.”
We’ve also featured photographs from LaToya Ruby Frazier’s first monograph, The Notion of Family, which documents the decline of Braddock, Pennsylvania, alongside the hardships of Frazier’s family, and which, as Jane Harris writes, “gilds its often grim truths with the hope of resistance.”
Last, congrats to Ben Lerner, who’s contributed several stories (“False Spring” and “Specimen Days”) and poems to the quarterly. His work will also appear in our new anthology, The Unprofessionals, where he’s the only author to be represented as both a poet and a fiction writer. You can preorder the book now at a 25 percent discount.
To these four and all the new fellows, a heartfelt chapeau from all of us at the Review.
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