January 13, 2026 Making of a Poem Making of a Poem: Jana Prikryl on “Dover Calais” By Jana Prikryl The English Channel. Photograph by Markus Trienke, via Wikimedia Commons. Licensed under CC BY-SA 2.0. For our series Making of a Poem, we’re asking poets and translators to dissect the poems they’ve contributed to our pages. Jana Prikryl’s “Dover Calais” appears in our new Winter issue, no. 254. How did this poem start for you? Was it with an image, an idea, a phrase, or something else? In the most basic sense it started with an implicit, unstaged scene from King Lear—Cordelia’s flight from England with her new husband, France, after she’s been banished by her father. I’d been circling Lear for about a year at that point, writing dramatic monologues from approximately Cordelia’s point of view, based on what she experiences in the play. (She experiences quite a lot, even if most of it is only reported by other characters.) I guess more specifically it began with an image of Cordelia falling into the water as her ferry crosses the English Channel. As I wrote these monologues, I wasn’t really interested in making up plot, making up fresh scenes for her to go through—I was trying more to eavesdrop on her language as the play unfolds, but curiously her language often made things happen. That image of her falling in hit me like a memory, which may be why I felt able to write about it, and why the poem opens with that blunt declaration, “I fell in once …” Read More
January 9, 2026 The Review’s Review Two Women, Three Guns: On Hedda Gabler and Anna Christie By Cynthia Zarin Ghost light in a darkened theater. Photograph by Jon Ellwood, via Wikimedia Commons. Licensed under CC BY-SA 3.0. During a week in December when violence seemed to rap on every door, I saw two plays about women who take their lives into their own hands: Hedda Gabler at the Yale Repertory Theatre in New Haven, and Anna Christie at Saint Ann’s Warehouse in Brooklyn. The plays were written thirty years apart. Hedda Gabler by Henrik Ibsen in 1891, and Anna Christie by Eugene O’Neill in 1921. That year, Alexander Woollcott, reviewing the first production of Anna Christie for the New York Times, wrote, “All grown-up playgoers should jot down in their notebooks the name of Anna Christie as that of a play they really ought to see.” Though O’Neill won the Pulitzer Prize for Anna Christie, the play has been infrequently performed. It is being directed now by Thomas Kail, and Anna is played by his wife, Michelle Williams. On the other hand, Hedda Gabler, directed this time by James Bundy and starring Marianna Gailus, is a warhorse. Both plays are about traps, and both confound expectations. Anna, a pinup saint, is stymied by circumstance but frees herself. Hedda, a monster, steps backward into a baroque ambuscade of her own making. In Anna and Hedda we see our best and worst selves, for who doesn’t wish that things were other than they are? Seen one after another, the plays turn each other inside out: One is about the ability to change—to respond and to evolve. The other is about egomania. Each play is in four acts and begins with the end of a journey. Hedda Gabler, the beautiful, self-absorbed daughter of an impecunious general, has returned to Christiania (now Oslo) after a six-month honeymoon with her new husband, George Tesman; she is now Mrs. Tesman, but the name of the play underscores that her father, dead, remains the center of her life. She has married the pedantic, fussy Tesman as a last resort, but why she chose Tesman over her other suitors isn’t clear—he’s as friable as a dry leaf. Marianna Gailus plays Hedda so splendidly—like a painted top at top speed—and Max Gordon Moore is so clownishly devoted as her dotard of a husband that, at least for a minute, we’re mesmerized by her and discount him. Hedda is as willful as Eris, who threw the golden apple and started the Trojan War. Her traits are egotism, cruelty, and dissociation. Her interest is showing off, and her hobby is belittlement. She insults George’s Aunt Juliane by mocking her new hat and pretending to mistake it for the charwoman’s. “Is there anything the matter with you, Hedda? Eh?” asks George, at the end of the first scene. Read More
January 8, 2026 From the Archive Bill Buckley’s “Art of Fiction” By Andrew Holter William F. Buckley Jr., 1954. Los Angeles Daily News. CC BY 4.0. via Wikimedia Commons Of all the writers whose interviews have appeared in The Paris Review since its founding in 1953, none may be quite so aberrant as William F. Buckley Jr., subject of The Art of Fiction No. 146. Buckley’s interview appeared in the Summer 1996 issue, alongside one with the poet A. R. Ammons and fiction by Jonathan Franzen and Carolyn Cooke. It was curious company for the preeminent political journalist of the American right—the paterfamilias, even, of the whole postwar conservative movement. It is not Buckley’s politics that makes his inclusion in the Writers at Work interview series surprising; right-wingers before him had made it into the magazine. The old Tory Evelyn Waugh, in his Art of Fiction interview, even declared that “an artist must be a reactionary.” No, what makes Buckley stand out in The Paris Review is that he was being interviewed about the art of fiction, not punditry. The eleven spy novels Buckley produced between 1976 and 2005 were, essentially, his side gig—his Chablis money. He wrote them in the Swiss Alps while on vacation from editing the magazine he had started in 1955, National Review. The books’ hero is Blackford Oakes, a Bond-like agent of the Central Intelligence Agency. Small wonder: Buckley himself had briefly worked for the CIA in the late forties in Mexico, where his supervisor was the future Watergate burglar E. Howard Hunt. Oakes’s Cold War escapades are a fanciful version of the life his creator might have led had he stayed on in “the Company” instead of becoming a high-flying magazine editor and television show host. (Hunt, incidentally, went on to write more than fifty spy thrillers and was never interviewed in The Paris Review.) Read More
January 6, 2026 On Things Thirteen Waters: Tasting Notes from a Sommelier By Amalia Ulman All photographs courtesy of the author. My water journey began on the airplane, when I recognized a bottle of Elisabethen Quelle. I remembered this brand from my time at the Doemens water sommelier school in Gräfelfing. It’s a mainstream still water of medium mineralization with a slightly salty taste. There’s something comforting about this water, maybe because of its high hydrogen carbonate content, which aids digestion. I usually get a tummy ache when I fly, so I can vouch for its curative effects. Elisabethen Quelle Rating: ★★★★☆ mg/L Sodium: 15.3 Magnesium: 28.3 Calcium: 96.9 Chloride: 12 Sulfates: 3 Hydrogen carbonate: 431 When I asked the flight attendant if I could take a photograph of the bottle, she asked why. I told her that I’m a water sommelier, and she said, “What’s that?” and I said, “Like a wine sommelier, but for water.” “I don’t know what a wine sommelier is.” Not knowing how to answer, I walked back to my seat and continued watching Dirty Harry. Read More
January 5, 2026 Bookmarks The Great Empty Cup of Attention By Sophie Haigney and Olivia Kan-Sperling Each month, we comb through dozens of soon-to-be-published books, for ideas and good writing for the Review’s site. Often we’re struck by particular paragraphs or sentences from the galleys that stack up on our desks and spill over onto our shelves. We sometimes share them with each other on Slack, and we thought, for a change, that we might share them with you. Here are some we found this month. —Sophie Haigney, web editor, and Olivia Kan-Sperling, associate editor From Jérémie Koering’s Iconophages: A History of Ingesting Images (Zone Books), translated from the French by Nicholas Huckle, a description of the Egyptian Statue of the Healer Djedhor (320 B.C.E.): The statue includes a wide variety of magical, biographical, and dedicatory inscriptions, and we find a dual system of basins carved into its plinth. The first of these, running around the main figure, allowed for the collection of water poured over both it and the stela, while the second, sculpted deeper and connected to the first by a channel, formed a sort of reservoir into which a container might be dipped. The two basins were clearly intended to be the statue’s magico-medical end point. From evidence pointed out by Lacau, we can see that the object was intended primarily for a procedure of “washing” rather than for reading. … The magical inscriptions are generally positioned so as to face the healer figure, notably so with the second basin, in such a way that they appear intended to be read not so much by the officiating priest, but rather by the statue itself. … The artifact was principally activated by the running of the water that the sick person, or an intermediary, would then draw from the basin. The liquid poured over the surface of the object is a substitute, therefore, for the ritual of incantation. But how are we to understand this piece of legerdemain? What could authorize such a slippage? It is hard to believe that the invocation, whose importance is so well known in ancient Egyptian culture, might have been entirely sidelined, at least conceptually. The solution is most likely to be found in the analogy one could make between the act of reading and the running water. The contact and the movement of the water were possibly likened to the experience of reading: the physical action of the water, running from top to bottom and adapting itself to all the reliefs and hollows of the engraved object, must have seemed equivalent to the work of the reader’s eyes, moving down the sculpture from the top to the base, activating the magical potential of the written story. … The liquid, as it is poured over his body and over the stela of Horus, might be likened to the flow of a murmured voice. Essentially, the water would be called upon to activate an always possible, potential reading. … The water running over the stela carries out a process that reading aloud is unable to achieve, mixing image and text in a flow that makes no distinction between these two material parts of the object. It gathers the trace of the images and writing into a material, dynamic, and continuous substance, creating thus a remedy that, still active and in motion, could then be taken and given to the sick person. Read More
January 2, 2026 Poetry “Gaza—the stadium of the soul” and Other Poems By The Paris Review NIGHTFALL (AFTER ASIMOV AND EMERSON) (4), 2017, CYANOTYPE EXPOSED BY STARLIGHT ON FOUND BOOK PAGE, 9 1/10 X 5 9/10 IN. COURTESY OF ALA EBTEKAR AND THE THIRD LINE. FROM OUR WINTER 2024 ISSUE. “I’d been angry for a while, and confused about what to do, and as soon as I was decided, I felt a relief,” Alice Oswald told Rachael Allen in our Art of Poetry interview in the new Winter issue. Oswald had decided to join more than five hundred protesters in London’s Parliament Square in August in support of Palestine Action, which the British government had designated a terrorist group. British police arrested Oswald, as she had expected and planned for, though her only previous interaction with the law had been “occasionally break[ing] the speed limit.” At the time, Oswald was mentoring young Palestinian poets through the Hands Up Project, a charity set up by Nick Bilbrough. Being involved in these young poets’ lives, Oswald said, made it impossible not to act. She worked with five others—two of whom worked with students in Arabic and three of whom helped them write in English—to mentor thirteen teenage students. “Some students had already been evacuated to Cairo, some were in the West Bank; others were surviving in tents or half ruined buildings in Gaza,” she told us in an email. “There were times when hunger, bereavement, displacement or lack of internet made it impossible to meet up. On these occasions, mentors exchanged poems intermittently through WhatsApp or voice messages.” Still, they tried to get together as a group at least once a month, and shared a Google Doc of their poems so they could read each other’s work. Rebecca Ruth Gould, a professor at SOAS University of London, invited the Hands Up Project to collaborate on a book called From Dust We Rise: New Poetry from Palestine, which collects the work of these Palestinian poets. The Review is publishing several of their poems here. These poems, Oswald said, are “an astonishing record not only of the darkness we have all been through, but also of human dignity, courage, patience, and recovery.” Gaza—the stadium of the soul by Bassim Helmi Hijazi (twenty years old) On a land choked with blood, there lies a field with no green grass its soil the ashes of shattered homes. The touchlines are not drawn in white chalk but in the tears of mothers. The two goalposts, a child who lost his arms and a father searching for the scent of his child beneath the stones. Read More