December 22, 2021 Fiction The God of Ferns By Daniel Galera Illustrations by Oliver Munday. An adapted excerpt of the novella by Daniel Galera, translated from the Portuguese by Julia Sanches. Manuela hates that it’s taking so long. For the past two weeks, she’s hauled her belly up and down the stairs of their building, and along sidewalks where dirty water from the last October rainfall still splashes against her swollen ankles—and she’s sick of it. She wants to sleep belly-down, without pillows to support her. She wants to get up from the toilet without needing to hold on to the sink, to stop being kicked on the inside of her ribs, to have normal sex again. And Lucas, who’s always thought of himself as the kind of guy who can fight off exhaustion, confident in the perpetuum mobile of stamina that’s stored in his guts and keeps him in action no matter how badly he’s being pounded—lately, Lucas has been feeling paralyzed by a fear that he can’t fully understand. He’s scared he won’t make enough money to cover the basics, that Manuela will get hurt, that he’ll have a stroke or a heart attack, that come Monday morning the country will be at war with itself. The autobiography he’d spent six months ghostwriting was published in June, and the book’s subject, a young businessman who competed in ultramarathons all over the world and had a near-death experience in the Atacama Desert, finally wired him the last installment of his advance just a week ago. Now Lucas, who in the past few years has found himself having to settle for more and more freelance assignments, each less inspired than the last, is barely working. He often wonders whether he should finally give up journalism and take a job doing public relations for a construction company, just so they won’t have to move out of the city to the countryside. Maybe, he now realizes, it was a matter of inertia. It’s as if he had wanted to take things slowly for a couple of years to savor the last dregs of inactivity, to ease into this unplanned fatherhood. Some days, he feels sure that he’s done everything he could have, but the truth of the matter is that he’s been in a state of denial. He should have said yes to every depressing, low-paid gig that came his way. He should have harassed his contacts and past clients until he had more work than he knew what to do with. He’s been attending boxing classes religiously at a cheap, dungeon-like gym near Avenida Goethe, where bald, middle-aged bodybuilders give him lip because when they look at him, all they see is a communist hippie who probably took a wrong turn somewhere. In the past few months, he’s exercised even more than usual, as though in response to the fact that his body, unlike Manuela’s, refuses to change. But he knows he’s too old for all of this hard work to make a real difference. Ever since they decided their apartment would be mostly a cigarette-free zone, he’s been going out to smoke at a small square two blocks from the house, where he does pull-ups on the steel bar of the swing set, making everyone around him feel awkward. Not long ago, he’d caught himself smoking and doing pull-ups at the same time, taking a drag of his Camel on the way down and blowing out smoke on the way up, all while his mind fabricated soothing, hyperrealistic scenes in which he died by illness, accident, or suicide. Read More
December 21, 2021 Redux Redux: Furry Faces By The Paris Review Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter. When we at the Review first read Sterling HolyWhiteMountain’s story “This Then Is a Song, We Are Singing,” which is published in our new Winter issue, we found ourselves in thrall to the story’s narrator—who, for all of his rage and confusion, self-justification and delusion, is undeniably charismatic. Inspired by the pleasure we took in spending time in his company (at least on the page), we hunted through the archives for some of the most memorable—which is to say, memorably off-kilter—voices the Review has published over the years. Inevitably, this led us to our Art of Fiction interview with Marguerite Young, whose hallucinatory novel Miss Macintosh, My Darling is, in her words, “an inquest into the illusions individuals suffer from.” From the same issue, no. 71 (Fall 1977), there are two poems by Erica Jong in which a lonely narrator putters around, talking to her cat. We’ve also been sucked into John Edgar Wideman’s stream of consciousness in “Sightings,” and fascinated by the inscrutable portraits of Llyn Foulkes. If you enjoy these free interviews, stories, poems, and portfolios, why not subscribe to The Paris Review? You’ll get four new issues of the quarterly delivered straight to your door. Interview Marguerite Young, The Art of Fiction No. 66 Issue no. 71 (Fall 1977) It was the unconscious that interested me. I say that I am not interested in people, but I am interested in the bizarre and in people at an edge. I am interested in extreme statements about people because that is where drama is most apparent. Read More
December 21, 2021 History Fairy Fatale By Chantel Tattoli An illustration by the painter Natalie Frank for The Island of Happiness. One of Frank’s favorite tales is “The Green Serpent,” in which the prince is a snake, though only literally. “I love the image where you have to get into bed with this creature but you can’t look at him, and of course you look at him.” Marie-Catherine Le Jumel de Barneville was born into a rich family in the fall of 1652. At thirteen, she was wed by her mother to the middle-aged Baron d’Aulnoy, who had purchased his title. Three months pregnant that same year, in the summer of 1666, she inked a jinx in the margins of a fifteenth-century religious play from their library: It has been almost 200 years since this book was made, and whoever will have this Book should know that it was mine and that it belongs to our house. Written in Normandie near Honfleur. Adieu, Reader, if you have my book and I don’t know you and you don’t appreciate what’s inside, I wish you ringworm, scabies, fever, the plague, measles, and a broken neck. May God assist you against my maledictions. Read More
December 17, 2021 Best of 2021 Our Staff’s Favorite Books of 2021 By The Paris Review In which we tell you some of the things we most enjoyed reading this year. Rhian Sasseen’s reading log. Maybe this is unsurprising for an audio producer, but I like listening to people talk: about their job, their bad childhood, their love life, the bigots living next door. People are funny, especially when discussing things that aren’t. Here are some of the books I read this year that felt like listening. In Secondhand Time: The Last of the Soviets, Belarusian oral historian Svetlana Alexievich sits at kitchen tables across the former USSR and records people’s stories. Not for the faint of heart. Or if you are, I recommend taking frequent breaks to watch dogs at the dog park. In the seventies, right before computers would change almost everything, Chicago radio interviewer Studs Terkel walked the streets and asked people “what they do all day and how they feel about what they do.” Every single one-and-a-half-page testimony in Working feels like a novel. For The Warmth of Other Suns, Isabel Wilkerson picked just three people to tell the story of the Great Migration: a sharecropper from Mississippi, a labor organizer in Florida’s orange groves, and a doctor from Louisiana. It’s filled with such great details, it makes me weepy with gratitude that someone saved them from the dustbin. A set of ocher silk sheets, her mother’s death, her electric bike, the time her father was imprisoned in South Africa—Deborah Levy treats every morsel of her living autobiography (Things I Don’t Want to Know, The Cost of Living, Real Estate) with equal aplomb. It’s like listening to someone’s mind. Minus the repetition. —Helena de Groot Read More
December 17, 2021 The Moon in Full Long Night Moon By Nina MacLaughlin In her monthly column The Moon in Full, Nina MacLaughlin illuminates humanity’s long-standing lunar fascination. Each installment is published in advance of the full moon. Harald Sohlberg. Månesskinn (Moonlight), 1907. Photo © O. Vaering, Norway The birds have gone. Off to pull worms from softer earth, drawn by the magnetic force alerting them each year to leave. Their shadows slid across the fields, reflections shivered over the dark surfaces of rivers and ponds. Each month has flown away, leaving a year’s worth of shadows and reflections on the surface of the mind. We’ve landed in December. Night is at its longest now. Read More
December 15, 2021 Poetry Two Poems By Kathleen Ossip Illustration by Anna Bak-Kvapil Henry Hudson Wood is a masculine substance. Witness the Arts and Crafts movement, the men at the helm of it. Witness, for that matter, this room: Oak floor, oak walls, oaken ceiling. The air-conditioning grate ersatz oak. The slats of the ceiling fan oak veneer. The table I write on, particleboard with no pretense to oak, oak’s sad cousin. And the craftsman-style light fixtures, triangles, right angles, dreamed up in the minds of geometers. What does geometry illuminate? I’m the sad cousin of a mind. Read More