Advertisement

The Daily

[tweetbutton]

[facebook_ilike]

  • First Person

    Star Tracks: Or, a Trip to the LSATs

    By

    Like many, I devoted to the recent Petraeus affair only the attention required to make a quip or two. Paula Broadwell and Jill Kelley (already it’s a struggle to remember their names) didn’t linger long in my consciousness as actual people; quickly they became the naughty biographer and Tampa’s answer to Kim Kardashian, respectively. When processing a scandal, the mind makes remarkably fluid conversions from human being to character, and character to joke. Much more difficult is reversing this thinking, as I discovered the day I took a standardized test while seated next to Monica Lewinsky.

    This was the fall of 2002—I was twenty-one, living in Brooklyn, and looking to escape the confusion of postcollege life. When I registered to take the law school admissions test at NYU that December, it felt less like choosing a career than like tossing a grappling hook out into the dark, hoping to catch hold of a stable future. Though public interest law seemed a perfectly appropriate path for someone raised on Pacifica Radio and political demonstrations, and though as a kid I’d logged countless hours watching the William Kennedy Smith and O. J. Simpson trials, I had neither an intellectual interest in the law nor any practical understanding of what lawyers did. Something about “briefs,” it seemed.

    Read More

  • The Print Series

    April Gornick, Untitled, 1996

    By

    Since 1964 The Paris Review has commissioned a series of prints and posters by major contemporary artists. Contributing artists have included Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Louise Bourgeois, Ed Ruscha, and William Bailey. Each print is published in an edition of sixty to two hundred, most of them signed and numbered by the artist. All have been made especially and exclusively for The Paris Review. Many are still available for purchase. Proceeds go to The Paris Review Foundation, established in 2000 to support The Paris Review.