December 2, 2019 Re-Covered Re-Covered: The Mischief By Lucy Scholes In her monthly column, Re-Covered, Lucy Scholes exhumes the out-of-print and forgotten books that shouldn’t be. Let’s play “guess the novel”: It was written and first published in French in the mid-50’s, and is set over the course of a single summer. Its heroine is one of the jeunesse dorée, dissatisfied and bored despite her wealth and privilege. She drives a fast sports car, and idles away her days sunbathing on Mediterranean beaches and flirting with her boyfriend. She’s a capricious enfant terrible, and she’s stricken with jealousy at the happiness of a couple close to her, so she amuses herself by sabotaging their relationship, with unexpectedly tragic consequences. Surprisingly, I’m not talking about Françoise Sagan’s Bonjour Tristesse, but a lesser-known work by the Algerian writer Assia Djebar. La Soif was first published in France in 1957 (three years after Bonjour Tristesse) and nimbly translated into English by Frances Frenaye, as The Mischief, the following year. There are plenty of parallels between the two novels. Both were debuts written by precociously young women writers—Sagan was eighteen and Djebar twenty-one—a description that also applied to their heroines: Sagan’s seventeen-year-old Cécile and Djebar’s twenty-year-old Nadia. However, while Bonjour Tristesse remains famous, recognized today as a mid-twentieth-century literary sensation-turned-French-classic, The Mischief is barely remembered, out of print in both the original French and the English translation. Read More
November 29, 2019 The Last Year Ghosts By Jill Talbot Jill Talbot’s column, The Last Year, traces the moments before her daughter leaves for college. It has run every Friday this month, and will return for a month each in the winter, spring, and summer. The next installment will arrive the first Friday of January. My mother bought the kitchen table in 1969. It’s dark maple, four chairs, their backs a row of five slats. The etchings of my math homework mark the wood, but the busiest scratches cover the space between my parents’ seats, like the ghosts of all they passed across the table and what they must have said. My mother always sat across from me, my father to my left, and eventually my daughter, Indie, sat across from my father. When he died suddenly in 2017, my mother sat in her chair at the table calling friends, one by one, to tell them he was gone. I don’t remember eating at the table after that. On the morning after my mother’s funeral a little over a year later, I sat in my chair at the table writing checks, paying her bills, signing her name. In January, Indie and I left my parents’ house for the last time. A house built when I was nine, in 1979. I remember walking through it when it was only a concrete slab and a fireplace. That afternoon, as I moved to stand in the door of each room, I kept saying thank you as if my parents were there, as if they could hear me. All the furniture and the décor was still intact, the way I wanted to remember the house. Indie and I packed up my childhood bedroom suite, my father’s chair, his cherrywood stereo console, boxes of my mother’s belongings, her two white suitcases (a high school graduation present from 1963), and the kitchen table. Left the rest for the estate sale. When I closed the back door for the last time, I was forty-nine. Indie considered it her childhood home, too, the only one that had been consistent throughout her life. She was sixteen. Yesterday, for the first time since we had moved the kitchen table into our apartment, she and I sat down to eat at it. It had taken us ten months. Indie stood with a hand on the back of her chair and asked, “How do the seats work here?” I set down the placemats: “We sit where we always sat.” In 2007, when we moved to Stillwater, Oklahoma, Indie was five. Back then, her bright blonde bob was always tousled. She had her own room in the duplex I rented, but she never slept in it. For four years, she slept close to me on the futon a friend had given us on his way out of town. The day I signed the lease on the hood of the manager’s truck, she looked over at the front door and muttered something about the past tenants, a brick through the front window. Later, Indie picked up half a brick in the yard, and for as long as we lived there, we’d find the glass, piece after piece. Read More
November 27, 2019 Eat Your Words Thanksgiving with Laura Ingalls Wilder By Valerie Stivers In Valerie Stivers’s Eat Your Words series, she cooks up recipes drawn from the works of various writers. My thrifty-housewife version of Ma’s “scrap bag” is this colorful mixture of sanding sugar left over from children’s parties. l used it to make sparkling cranberries for the top of a vinegar pie from the book Farmer Boy. Everyone who grew up on the Little House books has their own particular treasured food memory from the books. How Pa butchered the pig, smoked the meat, and used every bit of it, down to inflating the empty bladder for the girls to play with as a balloon. The spring on Plum Creek when they ran out of food and ate only fried fish and “crisp, juicy” turnips. Ma frying “vanity cake” doughnuts, so named because they’re “all puffed up, like vanity, with nothing solid inside.” Almanzo stuffing himself from the following spread at the county fair: pumpkin pie, custard pie, vinegar pie, mince pie, berry pies, cream pies, raisin pies … Reading these books—or rereading them as an adult, which is arguably an even better experience—makes me want to cook, eat, wear calico dresses, sleep on a straw-tick mattress, and plant seeds in the freshly tilled earth. With their lengthy descriptions of cooking and other homesteading processes, they’re the perfect inspiration for a from-scratch Thanksgiving meal; they’re all the more seasonally appropriate because the holiday’s roots lie in scarcity, the way the Ingallses’ lives did. Thanksgiving also presents an opportunity for reckoning with Wilder, whose work has been criticized in recent years for its cultural insensitivity toward Native Americans. Read More
November 27, 2019 Bulletin Behind the Scenes of ‘The Paris Review Podcast’ By The Paris Review The second season of our celebrated podcast is here to carry you away from all the troublesome sounds of Thanksgiving squabbles. And if you’d like to know how something so excruciatingly exquisite gets made, read on for a behind-the-scenes interview with executive producer John DeLore. He is a senior editor and tenured audio engineer at Stitcher’s NYC studio. In addition to The Paris Review Podcast, he has worked on Stranglers, Beautiful/Anonymous, The Longest Shortest Time, Couric, Clear + Vivid with Alan Alda, Fake the Nation, The Sporkful, and Household Name. He answered some questions from our engagement editor, Rhian Sasseen, about his preferred microphones, the differences between Season 1 and Season 2, and how to respect both the language and the listener. INTERVIEWER In the spirit of the many times “pencil versus pen?” has been asked in The Paris Review’s Writers at Work interviews, what’s your preferred setup for recording? JOHN DELORE Most of the process is not a solitary craft. And while a lot of recording happens in our studio where we’ve got our preferred tools and our studio vibe, a lot of it is happening out in the world, or “in the field,” as they say. And for me, I’m sort of always “in the field.” I’ve had the same silver Zoom H2 portable recorder for almost ten years, and I carry it just about everywhere I go. And these days I’ve been using the iPhone VoiceMemo app. It’s like a butterfly net. I hear something in the world, like a train on an elevated track, or a nice bird, or a thunderstorm, and I capture it. I label it and throw it in this massive folder of random sounds. Read More
November 26, 2019 Redux Redux: One Empty Seat 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. Jack Kerouac, ca. 1956. Photo: Tom Palumbo. This week at The Paris Review, we’re thinking about travel—by train, plane, car, or bus. Read on for Jack Kerouac’s Art of Fiction interview, W. S. Merwin’s essay “Flight Home,” and Paulé Bártón’s poem “The Sleep Bus.” 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. Jack Kerouac, The Art of Fiction No. 41 Issue no. 43 (Summer 1968) I spent my entire youth writing slowly with revisions and endless rehashing speculation and deleting and got so I was writing one sentence a day and the sentence had no FEELING. Goddamn it, FEELING is what I like in art, not CRAFTINESS and the hiding of feelings. Read More
November 26, 2019 Arts & Culture Redefining the Black Mountain Poets By Jonathan C. Creasy Drawing of project for Black Mountain College in Asheville, North Carolina. Architectural design by Marcel Breuer and Walter Gropius. Photo of original work taken in Harvard Art Museums. Via Wikimedia Commons. Grouping writers into “schools” has always been problematic. The so-called Black Mountain poets never identified themselves as such, but the facts of their union spring from a remarkable instance of artistic community: Black Mountain College and the web of interactions the place occasioned. Founded in the mountains of western North Carolina in 1933 and closed by 1956, the college was one of the most significant experiments in arts and education of the twentieth century. In recent years, a number of international exhibitions and publications have showcased the range of artwork produced at the college’s two campuses, the first situated in the YMCA Blue Ridge Assembly, and the second at Lake Eden in the Swannanoa Valley. The list of famous names associated with Black Mountain is as impressive as it is unlikely, given that the college never housed more than a hundred students and faculty at a time, often far fewer. Difficult questions persist in attempting to define a “Black Mountain” school of poets. Do we look to the physical and historical circumstances of Black Mountain College, or the complex pattern of friendships, influence, correspondence, publication, and collaboration that constitute the broader notion of this artistic coterie? Read More