August 22, 2018 At Work Apocalyptic Office Novel: An Interview with Ling Ma By Madeline Day Ling Ma’s debut novel, Severance, transcends any typical classification. It is part satirical office drama, part immigrant narrative, part millennial bildungsroman—with a dash of zombie apocalypse. Severance chronicles the life of Candace Chen, an obedient worker bee who is one of the last people alive in New York City after the Shen Fever strikes. The “fevered” who populate the city aren’t your classic teeth-gnashing, skin-peeling zombies. Instead, victims of the Fever are reduced to creatures of habit—they adhere mindlessly to their everyday grinds until they quite literally work themselves to death. Before the Fever, Candace works for a Bible production company in New York that outsources its labor to Southeast Asia. When the city starts to crumble and all of her coworkers flee, Candace chooses to stay behind and work—in part because her only family is far away in China and in part because she finds comfort in the familiarity of her day-to-day routine. Alone in New York, Candace spends her days wandering through the city and taking photos to post on her blog under the pseudonym NY Ghost. She catalogues abandoned avenues and ransacked luxury stores in hopes that people elsewhere will respond with their own nostalgic or romanticized versions of the city. (“If New York is breaking down and no one documents it, is it actually happening?”) Eventually, when the MTA shuts down and the bodegas close one by one, Candace and a small group of survivors are forced to make their way to a safe “Facility” located near Chicago. All the while, through a series of flashbacks, Candace draws parallels between her own journey and that of her parents, who left their home in China for a new life in the States. In the end, Severance isn’t so much a story about zombies as it is an imaginative critique of capitalism. Underneath Ma’s deadpan comedy lie shrewd observations of the West and the decadence of our everyday existence. We indulge in Frappuccinos and overpriced packaged vegetables at Whole Foods. We live off of products made by labor outsourced to China and Indonesia and Pakistan. In Ma’s eyes, the Fever is an inevitable symptom of Americans’ rapacious consumption. “What you do every day matters,” Candace insists at one point. If we don’t listen, we might just get what we deserve. Although Severance is Ma’s first novel, she has published short stories in Granta, Playboy, Chicago Reader, and elsewhere. She received her M.F.A. at Cornell University and is currently an assistant professor in the creative writing department at the University of Chicago. I had the chance to correspond with Ma the week leading up to the release of Severance, and we discussed her influences, the experiences that fueled her novel, and her opinions on social media. Read More
August 21, 2018 Redux Redux: V. S. Naipaul 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. In remembrance of V. S. Naipaul, who died August 11 at age eighty-five, we bring you his 1998 Art of Fiction interview, his short story “My Aunt Gold Teeth,” and Derek Walcott’s poem “The Sea Is History.” V. S. Naipaul, The Art of Fiction No. 154 Issue no. 148 (Fall 1998) People can live very simple lives, can’t they? Tucked away, without thinking. I think the world is what you enter when you think—when you become educated, when you question—because you can be in the big world and be utterly provincial. Read More
August 21, 2018 Comics Coyote Doggirl in “Nice to Be Alone” By Lisa Hanawalt Lisa Hanawalt is a cartoonist and the production designer and producer of the Netflix series BoJack Horseman. In this strip from her forthcoming book, Coyote Doggirl discovers the pleasures of going off the grid: Read More
August 21, 2018 Arts & Culture Ode to Gray By Meghan Flaherty Vilhelm Hammershøi, Støvkornenes dans i solstrålerne (Dust motes dancing in sunbeams), 1900. The color gray is no one’s color. It is the color of cubicles and winter camouflage, of sullage, of inscrutable complexity, of compromise. It is the perfect intermediate, an emissary for both black and white. It lingers, incognito, in this saturated world. It is the color of soldiers and battleships, despite its dullness. It is the color of the death of trees. The death of all life when consumed by fire. The color of industry and uniformity. It is both artless and unsettling, heralding both blandness and doom. It brings bad weather, augurs bleakness. It is the color other colors fade to once drained of themselves. It is the color of old age. Because I have no style, I defer to gray. I find it easier to dress in gray scale than to think. I buy in bulk, on sale, in black and white and shades between—some dishwater desolate, some pleasing winter mist. I own at least five cardigans in grandpa gray. My mother always called me plain. She saw this as a flaw to be corrected. She wanted the whole world dressed in dazzling color—even me. I never quite complied. I have the fashion sense of Vladimir and Estragon and the panache of my New England nana. When left to my devices, I choose to be unobtrusive. I choose gray. It suits my diffidence and soothes my extroversion. It is the color, rather than the sound, of silence. It sits with monkish, folded hands and asks for nothing. It never shouts. It never pushes. As the French painter Jean-Auguste-Dominique Ingres said, “Better gray than garishness.” I’m drawn to gray, as to a dream, but not to any old gray. Not storm-cloud gray or corporate monolith. I prefer tranquil gray: the undyed wool of sheep in rain, the mood inside a Gerhard Richter painting, the mottle of an ancient cairn. I don’t mean any one gray either but the entire underrainbow of the world, the faded rose and sage and caesious. Liard, lovat, perse. The human eye perceives five hundred—not a mere fifty—shades of gray. Paul Klee called it the richest color, “the one that makes all the others speak.” Read More
August 20, 2018 First Person The Most Selfish Choice By Jessie Greengrass Justine Siegmund, Diagram of a Fetus, Lying on Its Side, in an Opened Womb, 1723. I am not by nature a decisive person. Anxiety freights each choice with the potential for disaster, and where possible, I defer. It ought to come as no surprise, then, that I struggled with the decision to have a child—except that even to acknowledge the existence of such a decision is routinely considered a sign of failure. We talk about clocks. We talk about cycles. We talk about diminishing fertility, the prioritization of career over family, the horror of having left it “too late,” as though it were possible that half the population might be suffering a kind of culpable ignorance with regards to their own biology. I was embarrassed at the thought of discussing my uncertainty, as though anyone I confided in would snap back, Who are you, then, to have a child? I was humiliated by how hard it felt. That my future as a mother didn’t seem to me to be a given seemed related to those other ways in which I was not as I should be: my dislike of heels and holidays; my discomfort in dresses; the way my body failed to conform, growing larger than it ought to grow. It was my excess and my lack. The link between childbearing and femininity is such that feeling myself to be deficient in the latter, I felt disqualified from the former—or vice versa. What is a woman who might choose not to have a child? I wanted a child because I wanted a family. Because I wanted to feel secure, a part of a structure. Because I wanted, in some slight way, to be necessary. Because I wanted to be loved. None of this seemed good enough. All of it was about me. I wanted a child because I wanted one. Read More
August 20, 2018 At Work One-Question Interview: Shruti Swamy By The Paris Review Shruti Swamy’s story in the Summer issue, “A House Is a Body,” blazes with the heat of a California wildfire. A mother who has been warned by firefighters to evacuate her home descends into a spiral of thought so intense that you can practically feel the pages singing as you read. There was much we wanted to ask her, but we limited ourselves to a single question. INTERVIEWER Your story is an intense, dark tale of motherhood, grief, and madness. As an expectant mother yourself, how do the acts of creating life and creating art interplay? Are both a certain form of madness? SWAMY For the last few weeks, I’ve thought often about this question, which I had so eagerly volunteered to answer, thinking that as a new mother, I would have suddenly gained the insight I was looking for during the years before I had my baby. In truth, probably because of the sleepless nights, I feel like I have less of an answer now than I did before my daughter arrived, with one exception—her name. All through my pregnancy, I wrote my daughter’s name in my journal like a schoolgirl with a crush. It was a name so strange—singular—to my ear that I couldn’t imagine that anyone else in the world had, in this combination, already worn it. The act of writing again and again this name was like dreaming. Though I could see the changes happening to my body, they felt somehow strangely abstract, not unlike the way a story first feels when it begins inside me. An image, an interaction, an opening, and then the glow of possibility—not of the finished story but of the feeling of listening, following. Pregnancy to me felt like that, a work of the mind as well as of the body, even as the child felt impossible, as stories often feel until they fully arrive. Read More