June 30, 2020 Redux Redux: Nor Staple Down to Fact 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. Jeanette Winterson. This week at The Paris Review, we’re highlighting queer and trans writers in our archive in honor of Pride. Read on for Jeanette Winterson’s Art of Fiction interview, Jericho Brown’s “The Trees,” Timothy Liu’s “Action Painting,” and a selection of diary entries by Jan Morris. If you enjoy these free interviews, stories, and poems, why not subscribe to The Paris Review and read the entire archive? You’ll also get four new issues of the quarterly delivered straight to your door. And for as long as we’re flattening the curve, The Paris Review will be sending out a new weekly newsletter, The Art of Distance, featuring unlocked archival selections, dispatches from the Daily, and efforts from our peer organizations. Read the latest edition here, and then sign up for more. Jeanette Winterson, The Art of Fiction No. 150 Issue no. 145 (Winter 1997) INTERVIEWER One might say that your writing is characterized by a kind of excess. Have you gotten different responses to that aspect of your work? WINTERSON If you want something to be clear straightaway then it’s probably better not to read my books. Read somebody else’s. I don’t really feel that I should be held accountable for writing the kinds of books that I want to write just because some reader I can’t imagine or will never know doesn’t want to read them. It seems a bit unfair. You can’t win in the art stakes, because there is always somebody who is cross with you. So that’s why it is better not to care and instead think, Well, I must really do my work, hope that it reaches people and leave the rest to chance. That’s often mistaken for arrogance, but it isn’t. You have to believe that you are good, because if you think you are rubbish, why are you doing this stuff anyway? And what are you doing chucking it out there for people to buy? I think that would be the true arrogance—if you thought your stuff was rubbish and still got people to pay good money to read it. Read More
June 30, 2020 First Person American, Indian By Jaswinder Bolina Photo: John H. White. Courtesy of the National Archives at College Park. Public domain, via Wikimedia Commons. You know why they call them Indians? Because Columbus thought he was in India. They’re called Indians because some white guy got lost. —Herb Stempel, Quiz Show We called them American bhua and American phupher, the middle of my father’s three older sisters and her husband. As the vanguard of my family’s transplants to the U.S., they’d been assigned these honorifics by their nieces and nephews living then in England. American phupher arrived in Chicago for a temporary stay in the late fifties, then returned permanently with bhua in 1971. Together they raised three children while she labored in an electronics assembly plant, and he worked first as a diesel engineer for the Chicago Transit Authority and later in its managerial ranks. In their earliest years here, they would occasionally receive a phone call from a stranger who had just arrived at O’Hare on British Airways or Air India. The callers didn’t speak much English, and they had no friends or family in the city; they’d simply found a pay phone in the terminal, opened the directory, and dialed the number next to any name that sounded like it came from their part of the world. When these calls came in, my uncle would drive from the family’s apartment in Logan Square to the airport and collect the newcomers, whether they were Punjabi, Pakistani, or Bangladeshi, whether they were Hindu, Muslim, or Sikh, and he and my aunt would host them, sometimes for months, until they had secured employment and apartment leases. This is a kind of generosity that has been practiced by generations of immigrants to and from every part of the world. Among South Asians, such ethnic esprit de corps is captured most succinctly by the term desi, which Vijay Prashad defines to include those of Indian, Pakistani, Bangladeshi, Afghani, Sri Lankan, and Nepalese descent. It isn’t his invention. It’s commonplace enough among my family that I know it to mean one of us in a manner akin to the Italian paisan. Derived from Sanskrit, desi refers to umber skin and curried English, but—like paisan again—its application isn’t entirely seamless. Where outsiders might see homogeneity, immense internecine tensions permeate the histories of the desi peoples. Even among Indians arrived in the West from what is ostensibly a single country, there are chasms of cultural, linguistic, and religious difference that make India more like the fitful cohesion of Europe’s constituent nations than anything resembling the U.S. Uniting all our tongues, gods, cultures, and bodies under a single desi banner is tribalism elevated to a continental scale, and it doesn’t quite work. Yet desi isn’t a wrong category for us to embrace. When you live in a place that doesn’t recognize differences between you and anyone who looks vaguely like you, you come to accept, even welcome, certain conflations. Partition isn’t much remembered. Who assassinated whose head of state and for what reason doesn’t seem to matter any longer. The cold war over Kashmir, the occupation of Amritsar, the Bangladesh Liberation War, the centuries-long history of persecution and conflict across South Asia—these are hardly known, much less understood, in the West. Here, survival matters. Wellness matters. It matters that we have each other. Growing up in Chicago in the eighties and nineties, it seemed to me that I really might be related to anyone with brown skin and a Bollywood accent. My “uncles” and “aunties” were Gujarati and Pakistani, Hindu and Muslim, Jatt Sikh and Saini. They were shopkeepers and cab drivers, laborers and tailors, professors and physicians. If it takes a village, I lived in a flourishing and richly populated one. Still, in that village, I have long felt like a freeloader. Though I understand and speak Punjabi and can muddle through a modicum of Urdu and Hindi, though I wore kurta pajamas as a kid and can cook a few sabzis, I know little of the vastness and diversity of the desi nations. From my one visit to India, when I was four, I remember nothing but a sensation here, an image there: a water well between stalks of what might have been sugar cane, saag and corn flour roti cooking under an open sky at night, bathing in the reservoir surrounding the Golden Temple, smoke and the lingering smell of burning hanging over farm fields. This is the entirety of my firsthand reporting on a nation of more than a billion people and its sixty-five thousand years of history. Like every other child of immigrants here, first-generation or fifth-, my distance, my detachment, and my ignorance make me an American. Read More
June 29, 2020 The Art of Distance The Art of Distance No. 15 By The Paris Review In March, The Paris Review launched The Art of Distance, a newsletter highlighting unlocked archive pieces that resonate with the staff of the magazine, quarantine-appropriate writing on the Daily, resources from our peer organizations, and more. Read Emily Nemens’s introductory letter here, and find the latest unlocked archive pieces below. “As we move from spring to summer, as the days shift from getting longer to getting shorter, as some states push to reopen while others are placing new restrictions, I find myself split as well: wild to get outside, and desperate to crawl into a hole with a very big book. So I’m taking many walks outside with my family’s new puppy, Cashew (yep, we got a pandemic pup), and my current pandemic reading plan involves books in series—since reading all three volumes of Octavia E. Butler’s Xenogenesis trilogy, I’ve moved on to alternating between Elena Ferrante’s Neapolitan novels and Rachel Cusk’s Outline trilogy (you’ll find these last two authors’ Art of Fiction interviews unlocked if you click their names). And so this installment of The Art of Distance, which offers another deep dive into the work of a single writer, features the poet Carl Phillips, whose work resonates for me in ways public and personal. I love the syntactical challenges his poems pose, of course, but his work in the TPR archive also forms a bit of a series—Phillips has conducted one Art of Poetry interview and been the subject of another; in the latter, he also talks a good deal about walking his dog, so we’ve got that in common. These connections may seem tenuous, but in these weird times, I’ll take what I can get. May you, too, find focus, clarity, and a sense of shared consciousness and conscience in Phillips’s work.” —Craig Morgan Teicher, Digital Director Carl Phillips. Photo: Reston Allen. Carl Phillips is one of America’s most beloved contemporary poets, known for his command of English syntax, his blending of classical mythology and contemporary concerns, and his deep explorations of eros and its implications. As judge of the Yale Younger Poets Prize, he has also been an advocate for new writers, launching the careers of Eduardo C. Corral, Airea D. Matthews, Yanyi, and others. Read More
June 29, 2020 First Person The Ancestry Project By Mariah Stovall Seventeenth-century Dutch map of Africa, Atlas van Dirk van der Hagen, ©Wikimedia commons In fourth grade, my teacher assigned us a research report on a foreign country. She was a nice white lady. They all were. She said to choose a country we could trace our ancestry to. I was one of her favorites, but when she made that lesson plan, she was not thinking about me. Or Yvonne. We were the Black kids in class. I asked my mom for help after school. She’s Black on her father’s side and Ashkenazi Jewish on her mother’s side; I thought she might get my bubbe on the phone to wax poetic about Eastern Europe. But she didn’t. Nor did she rant about the nerve of the nice white lady whose bright idea this was. If my mom was bitter, she didn’t let it show. She turned that mess into lemonade. She smiled and pulled out the map and we went back to Africa, Garvey on our minds. Sometimes I learned more Black history in a week at home than I did in a lifetime of Februarys at school. I knew about slavery but I didn’t know about slavery. The information I had to work with was PG, maybe PG-13. Can we ever comprehend that level of unadulterated evil without living through it? My peers were gripping safety scissors, sketching sauerkraut and four-leaf clovers, spreading glue on the back of a cutout of the Great Wall. I was nine years old, trying not to imagine the skin on my great-great-great-great-great-greats’ backs getting shredded by a braided leather whip that might also catch them behind the ears, where their hair hung in braids the Kardashian-Jenners could only dream of. I looked down at the map. The men in the Romare Bearden print on the wall looked over my shoulder, too busy jamming on their instruments to tell me the right answer. I just wanted to get an A. I just wanted to be told what to do. “Mom?” “We don’t know—they made it so we don’t know. So now we get to pick. Something on the west coast, though. On this curve right here. Let me tell you about Gorée Island.” She found a shred of autonomy for me, among so much dehumanization. We got to choose. We got to do what our ancestors didn’t. Senegal. It was arbitrary. It meant everything. Read More
June 26, 2020 This Week’s Reading Staff Picks: Brownstones, Ballpoint, and Belonging By The Paris Review Arundhati Roy. Photo: © Mayank Austen Soofi. Haymarket Books will release Azadi: Freedom. Fascism. Fiction., a slim new collection of essays by Arundhati Roy, this September, but if there were ever a book that, given some minor magic wand, I would abracadabra into publication, it’s this one. The nine essays were written recently, between 2018 and 2020, “two years that … have felt like two hundred.” The words I elided in that sentence are “in India”—as she has said earlier, we should not forfeit “the rights to our own tragedies,” and Roy’s writing is implacably, unrelentingly specific, digging into the smallest details. That zoom has the paradoxical impact of also revealing broader, more general patterns, fundamental forces that take on different shapes. It’s impossible to read this book now, in America, and not hear the ways in which it is talking to us, too. Given the moment, I think a bit about sickness, how a disease can cause a fever in this person, a heart attack in that person, seemingly nothing at all in the third, but still be the same disease. (“I have begun to wonder why fascism—although it is by no means the same everywhere—is so recognizable across histories and cultures.”) And what comes after? As Roy puts it at the end of Azadi’s introduction: “Reimagining the world. Only that.” —Hasan Altaf Read More
June 25, 2020 Arts & Culture The Gimmick of the Novel of Ideas By Sianne Ngai Thomas Mann. Photo: Carl Van Vechten. Public domain, via Wikimedia Commons. Arising by most accounts in the last decades of the nineteenth century, the novel of ideas reflects the challenge posed by the integration of externally developed concepts long before the arrival of conceptual art. Although the novel’s verbal medium would seem to make it intrinsically suited to the endeavor, the mission of presenting “ideas” seems to have pushed a genre famous for its versatility toward a surprisingly limited repertoire of techniques. These came to obtrude against a set of generic expectations—nondidactic representation; a dynamic, temporally complex relation between events and the representation of events; character development; verisimilitude—established only in wake of the novel’s separation from history and romance at the start of the nineteenth century. Compared to these and even older, ancient genres like drama and lyric, the novel is astonishingly young, which is perhaps why departures from its still only freshly consolidated conventions seem especially noticeable. The techniques that stick out against the generic norms listed above appear across modern and postmodern texts with striking regularity. They are: direct speech by characters in the forms of dramatic dialogues or monologues (The Magic Mountain, Point Counter Point, Tomorrow’s Eve, Iola Leroy, Elizabeth Costello, Babel-17); overt narrators prone to didactic, ironic, or metafictional commentary (The Man without Qualities, Tristram Shandy, Elizabeth Costello); and flat allegorical characters (Faith and the Good Thing, The Man without Qualities, Against Nature, Moby-Dick). Also prevalent, to a lesser extent, are experimental formatting (Moby-Dick, Tristram Shandy, Diary of a Bad Year); sudden, unexplained, narratively isolated outbreaks of magic in a predominantly realist frame (The Magic Mountain, Elizabeth Costello, Artful); and even a curious thematization of the “device” or gimmick as such (Tomorrow’s Eve, The Magic Mountain, Clear: A Transparent Novel). Whether executed as science fiction, bildungsroman, or more recently, the satirical form Nicholas Dames calls the “theory novel,” the novel of ideas is “artful,” with all the equivocality this term brings. Willingness to court the accusation of relying on overly transparent stylistic devices is a consistent, perhaps even cohering feature of a notoriously unstable genre. Scholars have therefore obliquely acknowledged the novel of ideas’s predilection for contrivances. Claire De Obaldia’s groundbreaking study of the “essayistic novel which appropriates existing material,” for example, describes it as a “fundamentally ambivalent product,” confronting its authors with unusual “demands of literary integration.” For all of their “tremendous size,” the novels of ideas of Proust, Musil, and Broch are paradoxically “fragments,” sharing German Romanticism’s divided loyalties to a “uniquely self conscious intellect and an equally self conscious anti-intellectualism.” Even in magisterial (if tellingly unfinished) works like The Man without Qualities, the inclusion of essayistic excerpts induces “a mutual interruption of theory and fiction,” a disruption of “narrative continuity and totalization” undermining the systematic spirit of the “conceptual” as much as the imaginative pleasures of mimesis. Read More