{"id":128308,"date":"2018-08-07T13:00:59","date_gmt":"2018-08-07T17:00:59","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=128308"},"modified":"2018-08-07T11:23:40","modified_gmt":"2018-08-07T15:23:40","slug":"redux-doing-battle-with-your-successors","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/08\/07\/redux-doing-battle-with-your-successors\/","title":{"rendered":"Redux: Doing Battle with Your Successors"},"content":{"rendered":"

Every week, the editors of\u00a0<\/em>The Paris Review\u00a0lift the paywall on a selection of interviews, stories, poems, and more from the magazine\u2019s archive. You can have these unlocked\u00a0pieces delivered straight to your inbox every\u00a0Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/em><\/p>\n

 <\/p>\n

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

 <\/p>\n

This week, we bring you August Wilson\u2019s 1999 Art of Theater interview<\/a>, Ben Okri\u2019s short story \u201cThe Dream-Vendor\u2019s August<\/a>,\u201d and Joyce Carol Oates\u2019s poem \u201cWild Bamboo, Late Augus<\/a>t.\u201d<\/p>\n

<\/p>\n

August Wilson, The Art of Theater No. 14<\/a>
\nIssue no. 153 (Winter 1999)<\/em><\/p>\n

When I sit down to write, I am sitting in the same chair that Ibsen sat in, that Brecht, Tennessee Williams, and Arthur Miller sat in. I am confronted with the same problems of how to get a character on stage, how to shape the scenes to get maximum impact. I feel empowered by the chair. For years I sat in that chair and tried to best my predecessors, to write the best play that\u2019s ever been written. That was my goal until I ran across a quote by Frank Lloyd Wright, who said he didn\u2019t want to be the best architect who ever lived. He wanted to be the best architect who was ever going to live. That added fuel to the fire and raised the stakes, so to speak. Now you\u2019re not only doing battle with your predecessors but with your successors as well. It drives you to write above your talent. And I know that\u2019s possible to do because you can write beneath it.<\/p>\n

 <\/p><\/blockquote>\n

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

 <\/p>\n

The Dream-Vendor\u2019s August<\/a>
\nBy Ben Okri
\nIssue no. 105 (Winter 1987)<\/em><\/p>\n

When July passed with its thunderous downpours, and when August advanced with its dry winds and browning elephant grass, Joe felt himself at the mercy of a cyclical helplessness. Two years earlier, around the same time, Joe lost a woman he had been planning to marry. They had met one day to discuss their future together. Joe had catarrh. He made the mistake of blowing his nose in her presence, the act of which produced a long and disgusting sound. She didn\u2019t show her disapproval, but afterwards all talk of marriage was avoided. When later on he learnt that she had become engaged to another man, Joe was shattered. He went around in a daze. He no longer walked with his former arrogant swing. He became clumsy and unsure of himself. He lost his job. One night in a bar when he tried to sound like his former arrogant self, he got involved in a fight and had two of his front teeth knocked into his mouth. Then he took to strangling his laughter.<\/p>\n

 <\/p><\/blockquote>\n

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

 <\/p>\n

Wild Bamboo, Late August<\/a>
\nBy Joyce Carol Oates
\nIssue no. 153 (Winter 1999)<\/em><\/p>\n

Beyond our seed-littered pond a small forest of bamboo grows wild.
\nHear the wind-rustling like shaken paper? Bamboo.
\nShabby and peeling but erect with greeny health? Bamboo.
\n\u201cThe zombie of tree-life? Bamboo\u201d\u2014La Rochefoucauld.<\/p>\n

Not to require beauty for survival? Bamboo.
\nNot to require syntax for survival? Bamboo.
\nNot to require your permission for survival? Bamboo.<\/p>\n

To be wild bamboo is to march in all directions simultaneously.
\nLike the expanding universe of legend.<\/p>\n

Like grace marching into our lives, unbidden.
\nSometimes recognized, more often hidden \u2026<\/p><\/blockquote>\n

 <\/p>\n

If you like what you read,\u00a0get a year of\u00a0<\/a><\/em>The Paris Review<\/a>\u2014four new issues, plus instant access to everything we\u2019ve ever published.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Every week, the editors of\u00a0The Paris Review\u00a0lift the paywall on a selection of interviews, stories, poems, and more from the magazine\u2019s archive. You can have these unlocked\u00a0pieces delivered straight to your inbox every\u00a0Sunday by\u00a0signing up for the Redux newsletter.     This week, we bring you August Wilson\u2019s 1999 Art of Theater interview, Ben Okri\u2019s […]<\/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":[31006],"tags":[12044,30458,34965,2015,34966],"class_list":["post-128308","post","type-post","status-publish","format-standard","hentry","category-redux","tag-art-of-theater","tag-august-wilson","tag-ben-okri","tag-joyce-carol-oates","tag-the-dream-vendors-august"],"acf":[],"yoast_head":"\nRedux: Doing Battle with Your Successors<\/title>\n<meta name=\"description\" content=\"Every week, the editors of \u2018The Paris Review\u2019 unlock a selection of pieces from our archive. 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