February 11, 2020 Redux Redux: Film Is Death at Work 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. Billy Wilder. This week at The Paris Review, we’re watching some flicks, some pictures, some movies. Read on for Billy Wilder’s Art of Screenwriting interview, Hernan Diaz’s short story “The Stay,” and Chase Twichell’s poem “Bad Movie, Bad Audience.” 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 don’t forget to listen to Season 2 of The Paris Review Podcast! Billy Wilder, The Art of Screenwriting No. 1 Issue no. 138 (Spring 1996) I used stars wherever I could in Sunset Boulevard … The picture industry was only fifty or sixty years old, so some of the original people were still around. Because old Hollywood was dead, these people weren’t exactly busy. They had the time, got some money, a little recognition. They were delighted to do it. Read More
February 4, 2020 Redux Redux: Knowing It Would End 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. Charles Johnson in his office, with his grandson Emery, 2016. This week at The Paris Review, we’re preoccupied by questions of impermanence and longing. Read on for Charles Johnson’s Art of Fiction interview, Joy Williams’s short story “Tricks,” and Alex Dimitrov’s poem “Impermanence.” 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 don’t forget to listen to Season 2 of The Paris Review Podcast! Charles Johnson, The Art of Fiction No. 239 Issue no. 224 (Spring 2018) Take Marcus Aurelius—Meditations got me through Stony Brook University. I’m a Ph.D. candidate, with the pressures of teaching undergraduates, passing my own graduate classes, my qualifying exam, and living in 1975 on my four-thousand-dollar assistantship, with a first child on the way, no job yet, and a second philosophical novel to complete that had to be more expansive than the first one. Meditations got me through because Marcus Aurelius understood suffering, impermanence, and death almost as well as a Zen master. And Plato once said that philosophy is really preparation for death. I extend that wisdom to our very notion of the self as an enduring entity. You let go of the things that are simply unnecessary. Read More
January 28, 2020 Redux Redux: I Lost the Time of Day about Three Weeks Ago 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. Elizabeth Bishop. Photo: Alice Helen Methfessel. Courtesy of Frank Bidart. This week at The Paris Review, we’re thinking about the art of losing. Read on for Elizabeth Bishop’s Art of Poetry interview, Hebe Uhart’s short story “Coordination,” and Terry Stokes’s poem “Losing the Time of Day.” 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 don’t forget to listen to Season 2 of The Paris Review Podcast. Elizabeth Bishop, The Art of Poetry No. 27 Issue no. 80 (Summer 1981) INTERVIEWER Have you ever had any poems that were gifts? Poems that seemed to write themselves? BISHOP Oh, yes. Once in a while it happens. I wanted to write a villanelle all my life but I never could. I’d start them but for some reason I never could finish them. And one day I couldn’t believe it—it was like writing a letter. Read More
January 21, 2020 Redux Redux: Two Eyes That Are the Sunset of Two Knees 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. John Fowles. Photo: Carolyn Djanogly. This week at The Paris Review, we’re inspired by the art of dance. Read on for John Fowles’s Art of Fiction interview, Vilma Howard’s short story “Belle,” and Frank O’Hara’s poem “Ode to Tanaquil Leclerc.” 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 don’t forget to listen to Season 2 of The Paris Review Podcast. John Fowles, The Art of Fiction No. 109 Issue no. 111 (Summer 1989) I am a great believer in diaries, if only in the sense that bar exercises are good for ballet dancers: it’s often through personal diaries—however embarrassing they are to read now—that the novelist discovers his true bent—that he can narrate real events and distort them to please himself, describe character, observe other human beings, hypothesize, invent, all the rest. Read More
January 14, 2020 Redux Redux: Even Forests Engage in a Form of Family Planning 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. Deborah Eisenberg. This week at The Paris Review, we’re trying to separate the forest from the trees. Read on for Deborah Eisenberg’s Art of Fiction interview, Gisela Elsner’s short story “A Pastoral,” and Mónica de la Torre’s poem “Boxed In.” 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 don’t forget to listen to Season 2 of The Paris Review Podcast. Deborah Eisenberg, The Art of Fiction No. 218 Issue no. 204 (Spring 2013) I find it endlessly interesting, endlessly funny, the fact that we’re rather arbitrarily divided up into these discrete humans and that your physical self, your physical attributes, your moment of history and the place where you were born determine who you are as much as all that indefinable stuff that’s inside of you. It seems so ridiculous. Why can’t I just buckle on my sword and leap on my horse and go charging through the forests? Read More
January 7, 2020 Redux Redux: A Piece of a Beginning 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. Salman Rushdie. Photo © Rachel Eliza Griffiths. This week at The Paris Review, we’re celebrating new beginnings. Read on for Salman Rushdie’s Art of Fiction interview, Grace Paley’s “A Piece of a Beginning,” and Linda Gregg’s poem “After the Beginning.” 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 if you subscribe via our special bundle, you’ll get a tote bag, too! And don’t forget to listen to Season 2 of The Paris Review Podcast. Salman Rushdie, The Art of Fiction No. 186 Issue no. 174 (Summer 2005) INTERVIEWER Were you writing fiction at the same time? RUSHDIE I was beginning. I was very unsuccessful. I hadn’t really found a direction as a writer. I was writing stuff that I didn’t show anyone, bits that eventually came together into a first novel-length thing that everybody hated. This was before Grimus, my first published novel. I tried to write the book in a Joycean stream of consciousness when really it needed to be written in straight, thrillerish language. Read More