August 26, 2022 Eat Your Words Cooking with Nora Ephron By Valerie Stivers Photograph by Erica MacLean. I am a baker of pies and a believer in pleasures, but also the kind of killjoy who can’t take a rom-com in the spirit it’s intended. Hence my fraught relationship with Heartburn by Nora Ephron. I remember—from 1983, the year the book was published—it being marketed as a “hilarious” comedy about a woman cooking her way out of a broken heart at the end of a marriage. Heartburn was a cultural sensation in the suburbs of my youth, such that I recall my mother cackling over the film adaptation and criticizing Meryl Streep’s looks—not pretty enough! The story was said to be inspired by Ephron’s divorce from Carl Bernstein and has always been considered a delicious revenge plot by a spurned woman upon a cheating man. Ephron had a dazzling career as a trailblazer for women in journalism, and she wrote many of the greatest movies of all time, including When Harry Met Sally. She was a master, so my cavils over Heartburn‘s myths about romance will be brief: I don’t think a woman who stays in a bad relationship is just a starry-eyed believer in true love, as the heroine, Rachel Samstat, is presented to be. Nor do I think that men are just dogs—which is the book’s explanation for her husband, Mark Feldman’s, behavior—or that the happiest ending is finding a new relationship. But Ephron, in Heartburn, wasn’t looking to soul-search—this was her revenge novel. At one point, Rachel, who is a food columnist, admits to her therapist that she tells stories about her life in order to “control” the narrative. Ephron, writing Heartburn, was controlling the narrative of her divorce while showing off her wit, and she did it wonderfully. The one-liners never cease, as when Rachel says that Mark celebrates the political dysfunction of Washington, D.C., because if the city worked, “something might actually be accomplished and then we’d really be in bad shape” and adds, “This is a very clever way of being cynical, but never mind.” Read More
August 25, 2022 Arts & Culture Watch Loudon Wainwright III Perform Live at the Paris Review Offices By The Paris Review On the evening of August 9, the staff of The Paris Review welcomed a special guest: Loudon Wainwright III, who came with guitar and banjo in hand, ready to perform on a makeshift stage in front of our bookshelves and plants. (We rearranged the furniture a bit before he arrived, and ordered pizza.) Wainwright played both classics and songs from his new album, Lifetime Achievement, accompanied on occasion by his longtime friend and collaborator Joe Henry. His rendition of “New Paint,” first released in 1972, was especially striking. You can watch it in full here, along with a performance of the Lifetime Achievement highlight “How Old Is 75?”
August 24, 2022 First Person Against August By Haley Mlotek Coney Island, Brooklyn. Licensed under CC 4.0. There is something off about August. This part of the summer season brings about an atmospheric unease. The long light stops feeling languorous and starts to seem like it’s just a way of putting off the night. There is no position of the earth in relation to the sun that comes as a relief. Insomnia arrives in August; bedsheets become heavy under humidity. No good habits are possible in August, much less good decisions. All I do is think about my outfits and my commute, constantly trying to choose between my sweatiness and my vanity. People are not themselves. I go see the party girls and find them wistful. I meet up with the melancholics and find them wanting to stay out all night. In August I cannot think, so I cannot work. This is not not-working in a restful or decadent way. This is not-working as certain doom. And I can’t not-work in peace either: if I leave in July I consider myself traveling but if I leave in August I am just leaving. The best I can hope for, in the absence of a purpose like business or pleasure, is an escape. Maybe a light excursion. In any case I am rarely in the place I can reasonably call my home in August, and instead stay in other people’s basements, in their living rooms, on their couches. I sleep on what was once a little brother’s bunk bed and wash my hair in his parents’ shower. I walk down the stairs and see their children’s fingerprint smudges on the banister. I stay in hotel rooms by myself and think: What a waste. (I am convinced that hotel rooms are designed for sex, even though I am not particularly into the quality they have—sealed, hermetic, identical. Hotels are to sex what time zones are to jet lag, I think. A change of interiors out of proportion with the body.) I am against August. When I try to explain this position, some people instinctively want to argue. These people seem to love the beach beyond all reason, to have never suffered a yellowed pit stain on a favorite white T-shirt in their life, and to eagerly welcome all thirty-one days of August as though they are a reward for a year well-lived rather than a final trial before the beginning of another. These are people who vacation with peace of mind. To them, I say: Go away. To the people who agree with me, I say: Go on. Read More
August 23, 2022 First Person Saturday Is the Rose of the Week By Clarice Lispector Clarice Lispector. Photo courtesy of Paulo Gurgel Valente. In 1967, the Jornal do Brasil asked Clarice Lispector to write a Saturday newspaper column on any topic she wished. For nearly seven years she wrote weekly, covering a wide range of topics—humans and animals, bad dinner parties, the daily activities of her two sons—but the subject matter was often besides the point. These genre-defying missives are defined by a lyricism and strangeness that readers of her fiction will recognize, though they are a thing apart in their brevity and interiority. Too Much of Life: The Complete Crônicas, which collects these columns and others Lispector wrote throughout her career, will be published in English by New Directions this September. As Lispector’s son Paulo Gurgel Valente has written, “Enjoy the columns, I know of nothing quite like them.” Today, the Review is publishing a selection of these crônicas, the final installment in a series. March 13, 1971 Animals (I) Sometimes a shiver runs through me when I come into physical contact with animals, or even at the mere sight of them. I seem to have a certain fear and horror of those living beings that, though not human, share our instincts, although theirs are freer and less biddable. An animal never substitutes one thing for another, never sublimates as we are forced to do. And it moves, this living thing! It moves independently, by virtue of that nameless thing that is Life. I remarked to someone that animals do not smile, and she told me that Bergson comments on this in his essay about laughter. While a dog does, I’m sure, sometimes laugh — its smile expressed by its eyes brightening, its half-open mouth panting, and its tail wagging — a cat never laughs. It does, however, know how to play. I have a lot of experience with cats. When I was small, I had a cat of a rather common sort, striped in various shades of gray, and cunning in that feline, distrustful, aggressive way cats are. My cat was continually having litters, and every time the same tragedy would unfold: I would want to keep all the kittens and turn the house into a cattery. Behind my back, the offspring were given away to goodness knows who, which made the problem still more acute because I wouldn’t stop complaining about the absent kittens. And then, one day while I was at school, they gave my cat away. I was so shocked I took to my bed with a fever. To console me they gave me a present of a cat made out of rags, which to me was ridiculous: how could an object that was dead and floppy and a “thing” ever replace the elasticity of a living cat? Read More
August 22, 2022 History Chateaubriand on Writing Memoir between Two Societies By François-René de Chateaubriand Charles Etienne Pierre Motte, The Surroundings of Dieppe, 1833, licensed under CC0 1.0, via Wikimedia Commons. François-René de Chateaubriand (1768–1848) was born in Saint-Malo, on the northern coast of Brittany, the youngest son of an aristocratic family. After an isolated adolescence spent largely in his father’s castle, he moved to Paris not long before the revolution began. In 1791, he sailed for America but quickly returned to his home country, where he was wounded as a counterrevolutionary soldier, and then emigrated to England. The novellas Atala and René, published shortly after his return to France in 1800, made him a literary celebrity. Long recognized as one of the first French Romantics, Chateaubriand was also a historian, a diplomat, and a staunch defender of the freedom of the press. Today he is best remembered for his posthumously published Memoirs from Beyond the Grave. Sojourn in Dieppe—Two Societies Dieppe, 1836; revised in December 1846. You know that I have moved from place to place many times while writing these memoirs, that I have often described these places, spoken of the feelings they inspired in me, and retraced my memories, mingling the stories of my restless thoughts and sojourns with the story of my life. Read More
August 19, 2022 The Review’s Review Abandoned Books, Anonymous Sculpture, and Curves to the Apple By The Paris Review Bernd and Hilla Becher photographs at Galerie Rudolfinum Praha. Licensed under CC BY-SA 3.0. In August, I become regretful about everything that I haven’t squeezed into my summer and probably won’t. Here is an incomplete list of books I have started and not finished: First Love by Gwendoline Riley, At Freddie’s by Penelope Fitzgerald, The Palace Papers by Tina Brown, Sex in the Archives by Barry Reay, and—many times—Swann’s Way (the first few pages). I abandoned all these books at different points and for the usual reasons; I was busy, bored, or left my copy at the beach. It seems like they are no longer going to be my summer reading—maybe in September. —Sophie Haigney, web editor Read More