September 3, 2013 In Memoriam In Memoriam: John Hollander By Jeff Dolven and Lorin Stein During his five-decade career as a poet, the late John Hollander was a frequent contributor to The Paris Review. He was also renowned as a scholar and critic. Here he is remembered by two former students, our contributor Jeff Dolven and editor Lorin Stein. John Hollander once told me a story that served him as a kind of ur-scene of explanation. As a boy he was sitting with his father at the breakfast table, and he asked, apropos of nothing he could later recall, “Dad, what is a molecule?” By way of an answer, his father reached into the sugar bowl and lifted out a cube. “So what is this?” his father asked. “Sugar,” said John. Next his father set the cube down on the table and rapped it sharply with a teaspoon, so that it broke into coarse crystals. “And what is it now?” “Sugar,” said John again. “Well then,” said his father, “a molecule is the smallest piece of sugar you can get that’s still sugar.” The grown-up John delivered the last sentence like a punchline, laughing and widening his eyes and spreading his hands. Read More
August 30, 2013 In Memoriam Seamus Heaney, 1939–2013 By Sadie Stein “I might enjoy being an albatross, being able to glide for days and daydream for hundreds of miles along the thermals. And then being able to hang like an affliction round some people’s necks.” —Seamus Heaney, the Art of Poetry No. 75
August 22, 2013 In Memoriam Mr. Paradise By Jonathan Segura Leonard in his home office. Elmore Leonard died this week. This is terribly sad news. It’s terribly sad when the world loses someone fantastically gifted who also, through some cosmic fluke, is not a dick. Elmore Leonard was not a dick. He was nice. He wrote something like a book a year, and even the crap ones were better than most of what passes for decent fiction these days. And he was one cool motherfucker. We hung out one afternoon in October 2010 at his house in the suburbs north of Detroit. I was interviewing him for a story just before his ninety-millionth novel, Djibouti, was about to hit. He wore this black sweater with a scraggly beard and smoked cigarette after cigarette in his office, just talking. His daughter was in the other room futzing with this chair that was in the process of getting reupholstered. Gregg Sutter, Elmore’s longtime research man, floated in and out of the room a couple times, and Elmore sat there at his desk doing his third or fourth interview of the day—late in the day now—an eighty-five-year-old guy talking about how he’s got the best job in the world and why would he ever want to stop doing that? Apparently he didn’t. Sutter said recently that Elmore was banging away at his next book up until he had a stroke a couple weeks ago. Back then, we talked about a bunch of stuff. The usual chaff about his writing process (longhand, then typewriter), his aversion to all that social media junk, what he was writing now. (Stacked uneasily on a chair nearby was a stack of material about mountaintop removal that Gregg had dug up; it would become fodder for his last novel, Raylan.) He’d just unboxed his first cell phone. He smoked and talked dismissively about his atrial fibrillation and how “you can get a stroke easily with it” and so he took a couple pills for it every day and had bloodwork done every week or so. This was a serene, cool man much more like the smiley bemused grandpa pictured in his current official author photo. Previous versions featured a scowly guy rocking lavender-shaded sunglasses and a the-fuck-you-looking-at puss. I can’t imagine meeting that guy, after having met this guy. Read More
August 20, 2013 In Memoriam Elmore Leonard, 1925–2013 By Sadie Stein “I don’t like a lot of description. I like to judge for myself what a character looks like from the way he talks. I picked up on that immediately. I thought, That’s the way to go, just keep the characters talking and the reader will discover what they look like. When you are developing your style you avoid weaknesses. I am not good at describing things so I stay away from it. And if anyone is going to describe anything at all, it’s going to be from the point of view of the character, because then I can use his voice and his attitude will be revealed in the way he describes what he sees. I want to remain completely out of it. I don’t want the reader to be aware of me as the writer.” —Elmore Leonard (1925–2013), from “Como Conversazione: Criminal Conversations” in our Winter 2002 issue
August 19, 2013 In Memoriam John Hollander, 1929–2013 By Sadie Stein “Literature is not different from life, it is part of life. And for someone like myself, The Odyssey is as much a part of nature as the Aegean. And I react to the Aegean—as distinct, say, from the Caribbean—because its history is part of its physical substance. What I know about it, and feel about it, even mistaken things, is a part of it. Certain great texts are like this. Paradise Lost is like the Himalayas. It’s there. A part of nature, not separate.” —John Hollander, The Art of Poetry No. 35
June 25, 2013 In Memoriam Richard Matheson, 1926–2013 By Sadie Stein Richard Matheson, the screenwriter and author of (among others) I Am Legend, A Stir of Echoes, and What Dreams May Come, has died, at eighty-seven. Below, watch a pre-Kirk William Shatner in the Matheson-penned Twilight Zone episode “Nightmare at 20,000 Feet.”