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.

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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?

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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.

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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.

This week at The Paris Review, we’re resolving to read even more of our archive in the New Year. Read on for Octavio Paz’s Art of Poetry interview, Rachel Cusk’s “Freedom,” and Catherine Davis’s poem “The New Year’s Burden.”

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!

Octavio Paz, The Art of Poetry No. 42
Issue no. 119 (Summer 1991)

I am very fond of fireworks. They were a part of my childhood. There was a part of the town where the artisans were all masters of the great art of fireworks. They were famous all over Mexico. To celebrate the feast of the Virgin of Guadalupe, other religious festivals, and at New Year’s, they made the fireworks for the town. I remember how they made the church façade look like a fiery waterfall. It was marvelous.

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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.

J. G. Ballard. Photo: Fay Godwin.

This week at The Paris Review, we’re in a holiday kind of mood. Read on for J. G. Ballard’s Art of Fiction interview, Ottessa Moshfegh’s short story “Dancing in the Moonlight,” and Diane di Prima’s poem “Rondeau for the Yule.”

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!

J. G. Ballard, The Art of Fiction No. 85
Issue no. 94 (Winter 1984)

I have a sense of certain gathering obsessions and roles, certain corners of the field where the next stage of the hunt will be carried on. I know that if I don’t write, say on holiday, I begin to feel unsettled and uneasy, as I gather people do who are not allowed to dream.

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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.

Lydia Davis in Paris, 1973.

This week, we’re reading pieces all about the art of the piano. Read on for Lydia Davis’s Art of Fiction interview, Julio Cortázar’s “Feuilletons from A Certain Lucas,” Hanif Abdurraqib’s poem “Off–White,” and Sarah Manguso’s essay “Oceans.”

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!

Lydia Davis, Art of Fiction No. 227
Issue no. 212 (Spring 2015)

INTERVIEWER

I think of the narrator of your story “Glenn Gould,” who wonders whether there is a way of being selfish without hurting anyone.

DAVIS

By never marrying, and living alone and having long conversations in the middle of the night with a friend. And by never seeing that person.

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