May 13, 2020 Poets on Couches Poets on Couches: Eliza Griswold By Eliza Griswold In this series of videograms, poets read and discuss the poems getting them through these strange times—broadcasting straight from their couches to yours. These readings bring intimacy into our spaces of isolation, both through the affinity of poetry and through the warmth of being able to speak to each other across the distances. “After Our Planet” by Mark Strand Issue no. 125 (Winter 1992) Read More
May 13, 2020 Literary Paper Dolls Literary Paper Dolls: Clarissa By Julia Berick and Jenny Kroik ILLUSTRATIONS © JENNY KROIK There is a sound made by a room full of people at a party. It’s a radio between stations with a stretch and pop and one voice coming into focus and certain stories turning up like bingo balls from the collective burble. I love this sound. I throw parties for The Paris Review. That’s not what it says on my business card, and I certainly have other duties, but this is one of them. There are equations for judging provisions for a party. The average person drinks x number of drinks, times x number of people divided by glasses in a bottle, bottles in a case, et cetera, et cetera. I sometimes use these equations. I sometimes consult my old receipts, my faithful notes, but there is no keener pleasure or sharper anxiety than standing at the wine shop, bottles of merlot, burgundy, Côtes du Rhône, and Beaujolais in every direction, while trying to picture the crowd, the party, the temperature that day, and the humidity, what they will be wearing, the news that might buoy or sadden them—the mood of three hundred people who, not all at once, but over the course of the night, will be drinking this wine and think—no—feel, the two cases of white (the Sancerre), two of red (the Médoc), a half case of the crémant. I have grocery lists, too, of course. It would be easy to send an intern to the shop with a list—they are as a rule very capable, too bright for easy errands and yet cheerful when sent on them. But how could I know in advance to tell them to get just a few of those stupidly expensive oranges straight from Italy, still packed in their leaves, which I did not know would be there until I saw them, and which will light up the windowsill and tempt the photographer to take a picture before the density of the crowd makes such a shot impossible. In other words, I get the flowers myself. I always do. Read More
May 12, 2020 Arts & Culture The Great Writer Who Never Wrote By Emma Garman Stephen Tennant’s letters, thought Stephen Spender, were “the essence of English retention—objects for private consumption, deluxe samizdats.” Tennant also wrote poems, painted pictures, and worked on a novel, never to be completed. His most significant published work was his 1949 foreword to his friend Willa Cather’s essay collection, commended by Cather scholars and still in print today. Cecil Barton, Stephen Tennant (©The Cecil Beaton Studio Archive at Sotheby’s) By the time of its reclusive occupant’s death in 1987, the faux-Elizabethan country manor Wilsford, in Wiltshire near Stonehenge, overflowed with a dusty mishmash of valuable antiques, ephemeral gewgaws, and exotic objets d’art. Outside, ivy shrouded the gables and moss thickened on the roof tiles. In the overgrown gardens stood a myriad of neglected statuary, marble urns, stone columns, and rococo fountains. To disperse it all, Sotheby’s hosted hundreds of potential bidders, over four days, at what they described as an “English eccentric’s dream house.” Said eccentric was Stephen Tennant, who was born at Wilsford in 1906 and died there, aged eighty-one. According to his devoted housekeeper and nurse, Sylvia Blandford, he’d have turned in his grave at the spectacle of his possessions being pawed over and auctioned off piece by piece. But he had left no will. Death was not, perhaps, a notion permitted within Tennant’s elaborate fantasy world, into which he had retreated ever deeper as the decades passed. Like a fairy-tale character magically granted every conceivable blessing, only to discover those blessings carry a curse, the Honorary Stephen James Napier Tennant began life arrayed with sublime advantage. His father, Sir Edward Tennant, came from a family who owed their vast wealth to a Scottish ancestor’s invention and patenting of bleach powder in 1799. Edward’s blue-blooded wife, Pamela Wyndham, was a socialite who courted the leading artists and writers of the day. Pamela doted on Stephen, her youngest child of five, and encouraged him in his creative pursuits. As he was turning fifteen, she even arranged for his first art exhibition, at a respected London gallery. All the biggest national newspapers covered the event, offering fawning praise of the artist and his work. It must have been intoxicating indeed. And yet, as any former child star will attest, nothing warps one’s sense of self like youthful celebrity. Read More
May 12, 2020 Redux Redux: Landing without Incident 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. Alice Munro. This week at The Paris Review, in honor of Mother’s Day, we’re thinking of motherhood and children and the work behind parenting. Read on for Alice Munro’s Art of Fiction interview, Lorrie Moore’s short story “Terrific Mother,” and Camille Dungy’s poem “The Average Mother Now Spends Twice as Many Hours on Childcare as Did Her Counterpart in 1965, and She Also Spends Three Times as Many Hours Working Outside the Home; or, How to Sing a Song of Sixpence When You’re Really Feeling Wry.” 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. Alice Munro, The Art of Fiction No. 137 Issue no. 131 (Summer 1994) INTERVIEWER Doesn’t any young artist, on some level, have to be hard-hearted? MUNRO It’s worse if you’re a woman. I want to keep ringing up my children and saying, Are you sure you’re all right? I didn’t mean to be such a . . . Which of course would make them furious because it implies that they’re some kind of damaged goods. Some part of me was absent for those children, and children detect things like that. Not that I neglected them, but I wasn’t wholly absorbed. When my oldest daughter was about two, she’d come to where I was sitting at the typewriter, and I would bat her away with one hand and type with the other. I’ve told her that. This was bad because it made her the adversary to what was most important to me. I feel I’ve done everything backwards: this totally driven writer at the time when the kids were little and desperately needed me. And now, when they don’t need me at all, I love them so much. I moon around the house and think, There used to be a lot more family dinners. Read More
May 12, 2020 At Work Aiming Smaller: An Interview with Jenny Zhang By Lauren Kane During our phone call in the middle of April, Jenny Zhang set the scene: “There is something really bittersweet about talking to you right now, because we had originally wanted to meet up in New York City. I had imagined that we would be walking around the streets of Manhattan and talking about poetry, and it would be really cinematic and literary. That’s something I always wanted to do because of books I read when I was a kid, and I wanted to live that life. This is, I guess, romantic in a different way—in the way that I yearn to do that, and we cannot.” Zhang’s childhood became a touchstone in our conversation, memories and anecdotes unspooling in response to my questions. Her award-winning collection of short fiction, Sour Heart, was told from the perspectives of children and “in the language of childhood, with its unruly spirit and raw emotions.” Her second full collection of poetry, My Baby First Birthday, out today, delights in the same riotous way as her fiction and her first poetry collection, Dear Jenny, We Are All Find. She writes in a wild and phonetic vernacular, pairing the sonic incantation of visceral sounds with internet slang and bodily functions; she is playfully irreverent, deploying words like cunt with a wink, daring you to be offended. But there is a sense of control thrumming underneath everything, the same grounded feeling communicated by Zhang’s smart, down-to-earth sensibility. INTERVIEWER Your book of stories, Sour Heart, received a glowing reception in 2017. Was there any temptation to continue writing fiction? Why did you turn back to poetry? ZHANG I did feel like retreating after getting all of that really great positive press for Sour Heart, and doing all those interviews, and constantly talking about my process, and after the fact, trying to make a story out of the stories I had written. I felt like every time I sat down to write, I couldn’t rid the audience from my mind. As soon as I’m calculating for an audience, I lose interest in writing. It’s just another exhausting performance. I wanted to practice writing fiction without any thought of sharing it. When I’m writing, I don’t write with the thought that I’m going to share it with the world. Or, I prefer not to think that way. As a fanciful seven-year-old, I wrote diaries and I was sure that someone would break into my home, and steal all of my journals, and be so dazzled by this seven-year-old writing in a journal that they would come back and like, introduce me to their uncle who would be a scion of the publishing industry. I had those fanciful thoughts and would write diaries with the intention of making that happen. But now I really treasure the feeling of writing without expectation and without the thought that it would reach anyone, but just to write. Just to, I don’t know, process something that maybe is a little bit more unconscious. The other thing was that I missed poetry. There was a time when I used to read my poetry two or three nights a week. And sometimes, these would be poetry readings where there would be twelve people there. You know, there’d be five readers, and each person brought a friend. I missed the intimacy of poetry. I missed the immediacy of poetry. I was sick of telling narrative stories with a beginning, middle, and an end. I just wanted to go into a different place. And I also just wanted to be a little smaller. I know the ultimate goal is often to be bigger, and bigger, and bigger. But I guess I was interested in seeing if there was some other way to be. INTERVIEWER So, poetry was a kind of a sanctuary, in a way. It was a place without an audience and a place where you could just be for a while. ZHANG Exactly. I’m also a very slow writer. I let things sit for a while. It’s like I purposefully want my things to be less relevant, or something. Because if I wait, and put things in a drawer, and don’t share them for a while, then the moment where I wrote them has passed and we are in a different moment. And it’s almost like I want to know with stories, those poems, whatever the thing I wrote—is it still relevant now that the moment has passed? Read More
May 11, 2020 The Art of Distance The Art of Distance No. 8 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. “There is, of course, a great deal to grieve about this long stay-at-home term, but among the things I am truly grateful for—in addition to all the frontline workers who are keeping us safe—is the quiet wellspring of awareness that bubbles every day. So many things were right here all along, in my home, if only I hadn’t been too busy to notice them. For instance, I know my family better than I did eight weeks ago. Having spent all this time with them, I like them more, which means I love them better. I can’t regret that. The archive pieces unlocked this week are a grab bag of staff favorites, but I’d like to think of them collectively as a tribute to the handful of unnoticed wonders this strange way of living has the capacity to reveal. It’s a small consolation, I know, but I hope a meaningful one.” —Craig Morgan Teicher, Digital Director Corey Arnold, Crabbing aboard the Rollo, ca. 2008. In one of Corey Arnold’s Fish-Work photographs, two fishermen process crabs on a ship’s table as the deck tilts at an alarming angle under their feet. In another, they face a foam-topped wave—taller than they are—apparently menacing the starboard rail. The world might be a pitching ship now; the inexpert sailor might turn from the work, mesmerized by the danger of capsizing. But the people who supply our food—fishermen, farmers, grocers, and couriers, among others—carry on, deft and sure-footed. Here’s hoping that the fleets, threatened by rock-bottom prices because of restaurant closures, can continue to do so, and that we can all find our sea legs as the weather continues to shift. —Jane Breakell, Institutional Giving Officer Read More