February 19, 2019 Redux Redux: Miles of Mostly Vacant Lots 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. Toni Morrison, ca. 2008. Photograph by Angela Radulescu. This week, we’re celebrating Toni Morrison’s birthday with her 1993 Art of Fiction interview, observing Presidents’ Day with Philip Levine’s poem “A Walk with Tom Jefferson,” and delving deep into the archive to retrieve Gisela Elsner’s short story “A Pastoral.” If you enjoy these free interviews, stories, and poems, why not subscribe to read the entire archive? You’ll also get four new issues of the quarterly delivered straight to your door. Toni Morrison, The Art of Fiction No. 134 Issue no. 128 (Fall 1993) I don’t trust my writing that is not written, although I work very hard in subsequent revisions to remove the writerly-ness from it, to give it a combination of lyrical, standard, and colloquial language. To pull all these things together into something that I think is much more alive and representative. But I don’t trust something that occurs to me and then is spoken and transferred immediately to the page. Read More
February 19, 2019 YA of Yore Could The Baby-Sitters Club Have Been More Gay? By James Frankie Thomas In her monthly column YA of Yore, Frankie Thomas takes a second look at the books that defined a generation. This is an allegory, but it’s also true: I grew up in Chelsea, the Manhattan neighborhood that was, at the time, the center of gay life in New York. We moved there in 1989, when I was two. I was one of the only children in my neighborhood. There was a park right across the street from my building, but only grown men hung out in it, and I wasn’t allowed to play there. I was enchanted by the rainbow flags that hung from windows in the summertime, but I couldn’t get any adult to tell me what they were for. “Brotherhood,” my preschool teacher told me, and then refused to answer any follow-up questions. In elementary school we had an art teacher who was openly living with AIDS, and every Christmas he had us decorate paper gift bags to donate to a meal service for AIDS patients. When he died, in 1996, I was nine years old and had still never heard the term gay. I was in middle school when I first began to encounter it, but only from classmates, and only as an insult. I was thirteen when I was finally deemed old enough to be told who in our family was openly gay. (My late grandfather, for one. Long story.) I told my ten-year-old brother and got in trouble for upsetting him; he was too young, I was chided, to handle such things. Such was the cultural cognitive dissonance around homosexuality in the nineties. To say it was a transitional period does not begin to capture the weirdness of growing up internalizing the idea that gay people were deserving of rights, worthy of social acceptance, and outrageously inappropriate to discuss in front of children. This paradox is crystallized in the 1993 Seinfeld episode that gave us the catchphrase “Not that there’s anything wrong with that!” That episode won a GLAAD award. So did the first season of Friends, in which every utterance of lesbian was met with uproarious canned laughter, as if the word itself were raunchy and daring—and it was, in 1995. Gay people were, of course, nonexistent in children’s entertainment. In the nineties, the Scholastic industrial complex would sooner have published a bomb-building manual than include an openly gay character. But the paradigm shifted so rapidly in the mid-2000s that even I am occasionally tempted to judge the books of my childhood by the standards of subsequent decades—hence my long-held, largely irrational grudge against Ann M. Martin. Read More
February 15, 2019 This Week’s Reading Staff Picks: Medusa, Magic, and Moshfegh By The Paris Review T Kira Madden. Photo: Jac Martinez. T Kira Madden is magic. In her forthcoming memoir Long Live the Tribe of Fatherless Girls, she uses language new and strange but always devastatingly right. One of my favorite lines describes weather not unlike our recent New York squalls: “It’s a nickel-slapping kind of rain, a silver bounce to it. It is not cold enough to snow.” Such sentences, in their brevity and clarity, whirl the reader through this book. Whether in a loud coffee shop or our lively office, I found myself completely ensconced. Other books might possess similar powers—to steal a reader’s attention entirely—but I do think this memoir’s pull is uniquely sonic. “Nickel-slapping” and “silver bounce,” for instance, possess that ear-thrum of diving underwater. I’m thinking also of Madden’s dialogue: she captures that particular blend of impatience and tenderness unique to conversation among family. From a flippant “abso-fucking-lutely” to the most thudding words and exchanges, Madden reveals the taut vulnerability in everyday speech, the feeling that we always say either too much or too little—our fear, but speaking anyway. —Spencer Quong Read More
February 15, 2019 Eat Your Words Cooking with Patrick O’Brian By Valerie Stivers In Valerie Stivers’s Eat Your Words series, she cooks up recipes drawn from the works of various writers. The discovery of a new series of novels to love is often accompanied by joy (a new lifelong friend!) and resentment (why did none of you tell me about this?). These were precisely my feelings upon finding the Aubrey–Maturin books, a series of twenty naval adventures written by the brilliant British historical novelist Patrick O’Brian (1914–2000). The books take place during the Napoleonic Wars (1803–15) and explore the friendship between Jack Aubrey, a jolly and bellicose naval captain, and Stephen Maturin, his ship’s surgeon, a laudanum-addicted naturalist. Most of the action occurs at sea—the first volume starts on the island of Minorca (at the time a British possession), with Jack waiting desperately to be assigned a ship and Stephen ducking out on his lodgings because he’s unable to pay the rent. Shore time, when it comes in the second volume, is set in the carriages and country houses of England. I realized about halfway through Post Captain that O’Brian is like a male Jane Austen, writing from the point of view of the soldiers who populate Austen’s fiction. As a newly minted O’Brian addict, I feel he deserves an Austen-like cultural renown and am sad that despite his cult status and best-selling run in his own time, it never quite happened. (Master and Commander, a 2003 movie starring Russell Crowe and loosely based on the books, failed to capture the magic.) I can conclude only that the extraordinary depth of the books’ historical detail—especially their verisimilitude regarding naval jargon, which is nearly impenetrable, though it creates a rich texture of “fo’c’sles” and “bosuns”—puts readers off. Read More
February 15, 2019 Look James Baldwin, Restored By Hilton Als Jane Evelyn Atwood, James Baldwin with bust of himself sculpted by Larry Wolhander, Paris, France, 1975, gelatin silver print. After the Alice Neel show I curated closed in 2017, David Zwirner asked me what I’d like to do next. I immediately said James Baldwin, for some reasons that were clear to me and some that revealed themselves only when I began to meet with artists and see their work. I wanted to give Baldwin his body back, to reclaim him for myself and many others as the maverick queer artist that drew us to him in the first place. It’s difficult to visualize those feelings—complex, almost nonverbal feelings—and, as it turns out, difficult to get the right mix that further articulates those expressions of thought and feeling. But I think what we have here in this show, “God Made My Face: A Collective Portrait of James Baldwin” (on view through February 16), is exactly as I wanted, which is to say a myriad portrait of a significant figure. And as everyone knows, when an artist is making a portrait, they are also making a portrait of themselves. So to a very great extent, this is not a group show but, I hope, a new and valuable way of showing artists who are interested in exhibiting aspects of themselves, their thinking in relation to their times and the history that made them. Baldwin certainly helped make me, and in recent years I have been disturbed by the conversations around his work—largely, shall we say, heteronormative conversations that elevate the imitator and plunge the so-called liberal into a very comforting cold bath laced with guilt and remorse. These are reflexes, not thoughts, really, and so in order to help give Baldwin himself, I thought we had to start from the beginning. The first part of the exhibition is rooted in biography, and the second part is about metaphor: artists making the art Baldwin could not make himself. Read More
February 14, 2019 Arts & Culture Tove Jansson on Writer’s Block By Tove Jansson Tove Jansson During a recent trip to Stockholm, I came across a new collection of stories and essays by Tove Jansson in a bookstore. Though Jansson is perhaps best known as the creator of the Moomin series, her writing for adults is vast and varied. I have translated two of the essays from that new collection into English for the first time. The first, “The Island,” appeared on this site yesterday. The second, “Once, at a park,” here below, is a beautifully scattered, rhapsodic piece that defies genre conventions. Again, there are torsions in time and tense; again, the syntax can be somewhat shattered—and (again) there is a joyful disregard for the boundaries separating fiction, memoir, and essay. I have tried to retain, for the most part, the slight disquiet and disorientation the original sometimes conveys, because this carefully crumbling prose is directly related to the content of the piece. Written in 1997, toward the end of Jansson’s life, “Once, at a park,” starts out as a classic piece on writer’s block—by writing about the impossibility of writing. But there is much more going on. Despite its conciseness, the story can be read as a reflection on Jansson’s extensive career. It touches on some of her lifelong obsessions (“I can’t understand why I must drag the ocean into everything I write”). It also addresses multilingualism (she screams at the polyglot French clochard in Finnish but writes the story in Swedish). And, at a crucial point in the narrative, it connects writing and painting (Jansson, of course, was a brilliant visual artist as well). It is true that “Once, at a park” offers a bleak reflection on the craft, but the conjunction of candor and artifice at the heart of the piece reveals, I think, an enduring fidelity to literature. —Hernan Diaz A small park behind Saint-Suplice, in Paris I’m sitting comfortably parked on a bench in a little park behind Saint-Sulpice and I’m supposed to find something to write about. It’s very quiet here. Pigeons copulate on a patch of grass, some tourists catch their breath on the benches across from me, an organ plays behind my back, far away. Read More