{"id":105189,"date":"2016-11-28T13:14:11","date_gmt":"2016-11-28T18:14:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=105189"},"modified":"2016-11-28T15:29:12","modified_gmt":"2016-11-28T20:29:12","slug":"new-paris-review-look-great-paris-review-taste","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/11\/28\/new-paris-review-look-great-paris-review-taste\/","title":{"rendered":"New Paris Review<\/i> Look, Same Great Paris Review<\/i> Taste!"},"content":{"rendered":"

\"11\"<\/a><\/p>\n

Do not adjust your sets: theparisreview.org has been fully redesigned and beautified. If you fear change, you\u2019ll be horrified to learn that this new site is more than just a cosmetic improvement: it also marks the debut of our complete digital archive, making available each and every piece from The Paris Review<\/em>\u2019s sixty-three-year history. Subscribe now<\/a> and you can start reading 0ur\u00a0back issues\u00a0right away; you can also try a free ten-day trial period<\/a>.<\/p>\n

Now you can read every short story and poem, every portfolio, every hastily doodled authorial self-portrait<\/a>, and every introductory notice from the unassailable George Plimpton, who used to use the front of the magazine to brag about its ever-longer masthead<\/a>. (\u201cIt is extremely difficult to extricate oneself\u2014rather like being stuck in a bramble bush.\u201d)<\/p>\n

As always, our full Writers at Work interview series<\/a>, which dates back to 1953, is freely available.<\/p>\n

This week, watch this space to get a sample of some of our favorite writing from the magazine\u2019s past. We\u2019ll start today with \u201cThe Paris Review Sketchbook<\/a>,\u201d an illuminating history of the magazine by George Plimpton and Norman Mailer from our seventy-ninth issue, published in 1981:\u00a0<\/p>\n

\n

The first talks about the\u00a0Paris Review<\/em>\u00a0were between Peter Matthiessen, in Paris with his beautiful young wife Patsy, and Harold L. (Doc) Humes, who had arrived in Paris not long before. Peter was then at work on his first novel\u00a0Race Rock<\/em>; Doc was already the flamboyant publisher (he carried a silver-headed cane and wore a beret) of a magazine called the Paris\u00a0News-Post<\/em>\u2014once described by John Ciardi as \u201cthe best fourth-rate imitation of the\u00a0New Yorker<\/em>\u00a0I have ever seen.\u201d Among the names proposed for the new enterprise, and subsequently discarded, was\u00a0Manuscript\u00a0<\/em>(what would have become, had it stuck, Ms.<\/em>); it was thought bland.<\/p>\n

Peter Matthiessen had met Humes in the D\u00f4me in Montparnasse in the spring of 1951. \u201cHe was a remarkable figure,\u201d Matthiessen remembered. \u201cHe wore a cape … burly and curly fellow with a deep laugh … a lot of style to him; he was appealing, aggressive, warm-hearted, curious, yet with convictions on every subject … all of which made him impossible. Doc wanted me to serve as fiction editor at the Paris News-Post<\/em>, but the first story I acquired\u2014\u2018The Sun and the Still-Born Stars,\u2019 by a young unknown writer named Terry Southern\u2014was so much better than his magazine that I persuaded him to put to death the Paris\u00a0<\/em>News-Post<\/em>\u00a0<\/em>and start a new literary magazine, using Terry\u2019s story all over again, which we did.\u201d<\/p>\n

Humes was expected to function as the first managing editor of the\u00a0Paris Review<\/em>. From his short experience with the Paris\u00a0News-Post<\/em>\u00a0he was supposed to know something about the process of putting out and distributing a magazine: he knew the jargon of the printing shops. But, instead of doing what was expected of him, he took to reading\u00a0Huckleberry Finn<\/em>\u00a0in the corners of the Montparnasse caf\u00e9s, a sup\u00e9rieur<\/em> of beer in front of him. He explained that it was best for the young staff of the\u00a0Review<\/em>\u00a0to learn for itself. As its managing editor, he was doing the magazine a favor by remaining aloof from its activities. Besides, he had decided to become a writer; administrative work was behind him. That first summer of 1953 he applied to Harvard as a graduate student and was accepted. Archibald MacLeish took him into his English writing course. He left for the United States.<\/p>\n<\/blockquote>\n

Read on<\/a>, and subscribe now to get full access to the magazine\u2019s digital archive<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Do not adjust your sets: theparisreview.org has been fully redesigned and beautified. If you fear change, you\u2019ll be horrified to learn that this new site is more than just a cosmetic improvement: it also marks the debut of our complete digital archive, making available each and every piece from The Paris Review\u2019s sixty-three-year history. Subscribe […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2559],"tags":[16304,35,370,25913,25912,71,25915,14,2861,1132,13236,311,2862,7221,165,16380,896,25917,7845,1836,1444,426,25914,25916,16598,800],"class_list":["post-105189","post","type-post","status-publish","format-standard","hentry","category-bulletin","tag-archive","tag-art","tag-back-issues","tag-changes","tag-digital-archive","tag-fiction","tag-free-trial","tag-george-plimpton","tag-history","tag-interviews","tag-issue-79","tag-literary-magazine","tag-magazine","tag-poems","tag-poetry","tag-portfolios","tag-redesign","tag-redesigned-website","tag-short-stories","tag-subscribe","tag-subscriptions","tag-the-paris-review","tag-the-paris-review-sketchbook","tag-trial-period","tag-vintage-issues","tag-website"],"acf":[],"yoast_head":"\nOur New Website Features Our Complete Digital Archive<\/title>\n<meta name=\"description\" content=\"Now, subscribers can read every short story, poem, essay, and portfolio from the magazine\u2019s sixty-three year history. 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