{"id":127270,"date":"2018-07-06T12:57:44","date_gmt":"2018-07-06T16:57:44","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=127270"},"modified":"2018-07-06T12:59:34","modified_gmt":"2018-07-06T16:59:34","slug":"a-send-off-to-nicole-rudick","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/07\/06\/a-send-off-to-nicole-rudick\/","title":{"rendered":"A Send-Off to Nicole Rudick"},"content":{"rendered":"

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

 <\/p>\n

After eight years as managing editor, and editing the last two issues as interim editor, Nicole Rudick has decided to leave\u00a0The Paris Review.<\/i>\u00a0Our staff is small, and Nicole\u2019s role, like so many of ours, extended far beyond that which is simply captured by job titles: she\u00a0promoted new writers and artists, curated portfolios and conducted interviews for the magazine, edited\u00a0and wrote pieces for the Daily<\/em>, produced special projects\u2014like our reinvigorated\u00a0Paris Review Editions<\/a>\u00a0imprint and the\u00a0Big, Bent Ears<\/a>\u00a0series\u2014and so much more.\u00a0We\u2019ll miss her dry humor, strongly held opinions, hard-earned praise, and surprisingly colorful dress shoes. She has been equal parts tough and nurturing, a mentor to many who have passed through these doors. The day after the 2016 election, when many of us were crying quietly at our desks, Nicole gathered everyone around the pool table for a meeting. Then she turned on the music and encouraged us to dance.<\/p>\n

Below, a very small sampling of the contributions Nicole has made to the magazine over the years:<\/p>\n

 <\/p>\n

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

 <\/p>\n

Jane Smiley, The Art of Fiction No. 229<\/a>
\nIssue no. 214 (Fall 2015)<\/em><\/p>\n

Jane Smiley grew up in Webster Groves, Missouri, in a family of storytellers\u2014and it shows. During the two afternoons I spent \u00adinterviewing her, I heard about how her great-\u00adgrandmother, a Norwegian immigrant, met her husband while going door-to-door as a dressmaker in Saint Paul, Minnesota; how her grandfather nearly froze to death during a blizzard on an Idaho ranch; how her grandmother lost the diamond ring her husband had won in a poker game. One anecdote led to another, and she frequently interrupted herself to ask, \u201cDid I tell you about … \u201d before launching into a story within a story, a pattern that continued as she made scones, cooked dinner, fed her horses, and drove.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

\u201cPaste-ups<\/a>\u201d by Jess
\n<\/a>Issue no. 202 (Fall 2012)<\/em><\/p>\n

As a boy, Jess\u2014born Burgess Collins in 1923\u2014saw the Watts Tower under construction and \u201cfiled this salient experience away for later sustenance.\u201d It wouldn\u2019t stay filed for long. After a stint as a radiochemist for the Manhattan Project, he exchanged the laboratory of science for one of art, producing paintings, paste-ups (his preferred term for collages), and assemblages full of unlikely juxtapositions. \u201cIf it\u2019s unexpected,\u201d Jess advised the viewer, \u201cexpect it.\u201d By 1951, he had become an integral member of the Bay Area\u2019s underground art scene and had embarked on an artistic and romantic partnership with the poet Robert Duncan that would last four decades.<\/p><\/blockquote>\n

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

 <\/p>\n

\u201cFugitive Photographs<\/a>\u201d by Francesca Woodman
\nIssue no. 208 (Spring 2014)<\/em><\/p>\n

All of Woodman\u2019s work is early work\u2014she committed suicide in 1981, at the age of twenty-two\u2014but even this small cache contains surprising discoveries. Among these \u201clost\u201d photographs is a male nude, rare in Woodman\u2019s work; the model was her then-boyfriend, Benjamin Moore. In the photograph, he stands with his arms raised, ribs exposed, next to a blurred form that seems to mimic his skeletal structure. Moore revealed to Schor that this ghostly effect, which appears elsewhere in her work, was created rather ingeniously: Woodman stood on a ladder, her body out of the frame, and crumpled a piece of paper in front of the camera during a timed exposure.<\/p>\n

 <\/p>\n

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

 <\/p>\n

\u201cReal Dogs in Spac<\/a>e\u201d by Raymond Pettibon
\nIssue no. 209 (Summer 2014)<\/em><\/p>\n

Boo is a frequent muse for Pettibon\u2014her portrait graces the cover of this issue, and she appears, in various guises, throughout this selection of drawings\u2014but then dogs are everywhere in his art. Dobermans and Dalmatians are regular favorites: the former because they\u2019re so recognizable that, he argues, you don\u2019t have to draw the whole dog; the latter because their distinctive markings are visually interesting within Pettibon\u2019s black-and-white palette (\u201cit\u2019s like doing a zebra\u201d).<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Invisible Adventure:\u00a0Watching a Film About Claude Cahun<\/a>
\nThe Daily (December 9, 2015)<\/em><\/p>\n

The film opens on a shot of a small folded card that contains the handwritten phrase \u201cL\u2019aventure invisible<\/em>.\u201d Pierson picks up a zoetrope next to the card and sets it spinning. As the images gain momentum, the woman inside begins to move. We see her in a succession of costumes\u2014in men\u2019s clothing, in a black dress with a yellow star, as a weight lifter, a Buddha, an angel; she postures and poses, thumbing her nose, crouching, bending on one knee. Though the short film, which is also titled\u00a0Zoetrope<\/a><\/em>, is silent and doesn\u2019t tell us who the character is, I know that it is Claude Cahun, a little-known French Surrealist artist, writer, and provocateur who made work with her lover, Marcel Moore, both before and during World War II.<\/p><\/blockquote>\n

 <\/p>\n

 <\/p>\n

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

 <\/p>\n

Women Hold Up Half the Sky
\n<\/a>The Daily (March 8, 2017)<\/em><\/p>\n

In 1974, a group of women answered an ad calling for those in the visual arts to gather to help promote the women\u2019s liberation movement and counter the prevailing negative images of women in advertising and the media. Like many women at the time, the members of See Red were disillusioned with the Left; the story they relate is an old one: \u201cWe found ourselves marginalized within these campaigns and were expected to stay in the background, keep quiet and make the tea.\u201d The members worked collectively and non-hierarchically: from idea to concept to design to production, decisions and process were undertaken as a group.<\/p><\/blockquote>\n

And of course:<\/em><\/p>\n

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

 <\/p>\n

The Paris Review<\/em> Issue No. 224<\/a> (Spring 2018)<\/p>\n

 <\/p>\n

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

 <\/p>\n

The Paris Review<\/em> Issue No. 225<\/a>\u00a0(Summer 2018)<\/p>\n","protected":false},"excerpt":{"rendered":"

  After eight years as managing editor, and editing the last two issues as interim editor, Nicole Rudick has decided to leave\u00a0The Paris Review.\u00a0Our staff is small, and Nicole\u2019s role, like so many of ours, extended far beyond that which is simply captured by job titles: she\u00a0promoted new writers and artists, curated portfolios and conducted […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2559],"tags":[],"class_list":["post-127270","post","type-post","status-publish","format-standard","hentry","category-bulletin"],"acf":[],"yoast_head":"\nA Send-Off to Nicole Rudick by The Paris Review<\/title>\n<meta name=\"description\" content=\"After eight years as managing editor, and editing the last two issues as interim editor, Nicole Rudick has decided to leave\u00a0\u2018The Paris Review.\u2019\" \/>\n<meta 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