January 5, 2022 Document Fifty Disguises: Selections from The Book Against Death By Elias Canetti Photo of Elias Canetti courtesy of the Dutch National Archives, The Hague, Fotocollectie Algemeen Nederlands Persbureau (ANEFO). Collage Illustration by Najeebah Al-Ghadban. 1942 There is no longer any measure by which to gauge anything once the measure of human life no longer is the measure. — Today I decided that I will record thoughts against death as they happen to occur to me, without any kind of structure and without submitting them to any tyrannical plan. I cannot let this war pass without hammering out a weapon within my heart that will conquer death. It will be tortuous and insidious, perfectly suited to the task. In better times I would wield it as a joke or a brazen threat. I think of the act of slaying death as a masquerade. Employing fifty disguises and numerous plots is how I’d do it. Read More
January 5, 2022 Redux Redux: Great Blinding Flashes 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. Photos courtesy of Killarnee, Wikimedia Commons It’s the very first week of 2022, so you can probably guess the theme of this Redux. Whether you spent New Year’s Eve setting off fireworks or having a road to Damascus moment, we hope you gave 2021 a good kick in the shins. Unlocked for you to read in these first days of the year: our interview with Octavio Paz, an excerpt from Rachel Cusk’s Transit, a poem by Catherine Davis, and party snapshots by Andy Warhol. 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 Octavio Paz, The Art of Poetry No. 42 Issue no. 119 (Summer 1991) I am very fond of fireworks. They were a part of my childhood. There was a part of the town where the artisans were all masters of the great art of fireworks. They were famous all over Mexico. To celebrate the feast of the Virgin of Guadalupe, other religious festivals, and at New Year’s, they made the fireworks for the town. I remember how they made the church façade look like a fiery waterfall. It was marvelous. Mixoac was alive with a kind of life that doesn’t exist anymore in big cities. Read More
December 24, 2021 On Writing Daniel Galera on “The God of Ferns,” the Review’s Holiday Reading By The Paris Review Author photo of Daniel Galera © Suhrkamp Verlag. Daniel Galera was born in São Paulo, and spent a year and a half in Garopaba, the Brazilian seaside town that became the setting for his tense, violent, and funny 2012 novel Blood-Drenched Beard, which was published in the U.S. by Penguin Press in 2015. His other novels include The Shape of Bones (2017) and Twenty After Midnight (2020). He has translated works by John Cheever, David Foster Wallace, and Zadie Smith into Portuguese, and his latest book, The God of Ferns, published in the Portuguese by Companhia das Letras, is a collection of three novellas. Earlier this year, we read the title story, translated by Julia Sanches, and were instantly hooked by its almost uncanny state of suspense, so we decided to share an adapted excerpt with you, to get you through these rather strange holidays we’re having. Galera answered some questions about the story and about his writing from his home in Porto Alegre, where he lives with his wife, his young daughter, and his Australian cattle dog. Read More
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