{"id":131734,"date":"2018-12-11T13:00:29","date_gmt":"2018-12-11T18:00:29","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=131734"},"modified":"2018-12-10T13:58:57","modified_gmt":"2018-12-10T18:58:57","slug":"redux-reflexively-self-revising","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2018\/12\/11\/redux-reflexively-self-revising\/","title":{"rendered":"Redux: Reflexively Self-Revising"},"content":{"rendered":"

Every week, the editors of<\/em>\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<\/a>.<\/em><\/p>\n

\"\"<\/a>

Adam Phillips.<\/p><\/div>\n

This week, we bring you Adam Phillips\u2019s 2014 Art of Nonfiction interview<\/a>, Geoff Dyer\u2019s essay \u201cInto the Zone<\/a>,\u201d and Robyn Selman\u2019s poem \u201cEssay in the Form of a Russian Doll<\/a>.\u201d<\/p>\n

If you enjoy these free interviews, stories, and poems, why not subscribe<\/a> to read the entire archive? You\u2019ll also get four new issues of the quarterly delivered straight to your door.<\/p>\n

 <\/p>\n

Adam Phillips, The Art of Nonfiction No. 7<\/a>
\nIssue no. 208 (Spring 2014)<\/em><\/p>\n

An essay is a mixture of the conversational and the coherent and has, to me, the advantages of both. There doesn\u2019t have to be a beginning, a middle, and an end, as there tends to be in a short story. Essays can wander, they can meander. Also, the nineteenth-century essayists whom I like, like Emerson and Lamb and Hazlitt, are all people who are undogmatic but very moralistic, though it\u2019s not quite clear what that moralism is. That\u2019s to say, they are clearly people of very strong views who are trying not to be fanatical. The essay is very rarely a fanatical form, it seems to me, partly because you\u2019d just run out of steam. It would just be propaganda of the most boring sort. In order to write a compelling essay, you have to be able to change tone. I think you also have to be reflexively self-revising. It\u2019s not that these things are impossible in other genres, but they\u2019re very possible in essays. As the word essay<\/em> suggests, it\u2019s about trying something out, it\u2019s about an experiment. From the time I began writing\u2014although this wasn\u2019t conscious\u2014I think that was the tradition I was writing in.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

Into the Zone<\/a>
\nBy Geoff Dyer
\nIssue no. 198 (Fall 2011)<\/em><\/p>\n

An empty bar, possibly not even open, with a single table, no bigger than a small round table, but higher, the sort you lean against\u2014there are no stools\u2014while you stand and drink. If floorboards could speak, these look like they could tell a tale or two, though the tales would turn out to be one and the same, ending with the same old lament (after a few drinks people think they can walk all over me), about not just what happens here but in bars the world over. We are, in other words, already in a realm of universal truth. The barman comes in from the back\u2014he\u2019s wearing a white barman\u2019s jacket\u2014lights a \u00adcigarette, and turns on the lights, two fluorescent tubes, one of which doesn\u2019t work properly: it flickers. He looks at the flickering light. You can see him thinking, That needs fixing, which is not the same thing at all as \u201cI\u2019ll fix that today,\u201d but which is very nearly the same as \u201cIt\u2019ll never be fixed.\u201d Daily life is full of these small, repeated astonishments, hopes (that it might somehow have fixed itself overnight), and resignations (it hasn\u2019t, and won\u2019t). A tall man\u2014a customer!\u2014enters the bar, puts his knapsack under the table, the small round table you lean against while drinking. He orders something from the barman. The fact that the barman\u2019s jacket is white \u00ademphasizes how not terribly clean it is. Although it\u2019s a jacket it also serves as a towel, possibly as a dishcloth, and maybe as a hankie, too. The whole place looks like it could be dirty, but it\u2019s too dingy to tell, and the credits in yellow Russian letters\u2014sci-fi Cyrillic\u2014do not exactly clarify the situation.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Essay in the Form of a Russian Doll<\/a>
\nBy Robyn Selman
\nIssue no. 154 (Spring 2000)<\/em><\/p>\n

for David Trinidad<\/em><\/p>\n

In bold black type among grayer headlines
\nAll Time High\u2014Maybelline Stock Hits 60,<\/em>
\nBoard Acceptance of Buyout Thought Likely.<\/em>
\nIt wasn\u2019t in my nature to accept
\nher. It wasn\u2019t in hers to be true,
\nif true means plain. (Made-up means untrue?)
\nI saw both views, plainly, as children do.
\nMy mother, in her sixties, was older
\nthan my father, more like friends\u2019 grandmothers;
\nthe same woman, who, after hours
\nat her vanity, with skill and precision
\ncoaxed those dividends to mature luster,
\ninstalled herself in her rightful station\u2014
\nthe restored Empress of all Westchester \u2026<\/p><\/blockquote>\n

 <\/p>\n

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

This week, we\u2019ve lowered the paywall on Adam Phillips\u2019s Art of Nonfiction interview, an essay by Geoff Dyer, and a poem by Robyn Selman.<\/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":[1962,7497,16304,18071,43023,43016,43022,80,10361,8400,43020,364,71,79,35131,1761,43018,241,30115,43017,202,81,12985,38793,3539,3612,9738,7494,43019,261,30118,1836,43021,5806],"class_list":["post-131734","post","type-post","status-publish","format-standard","hentry","category-redux","tag-adam-phillips","tag-andrei-tarkovsky","tag-archive","tag-arkady-and-boris-strugatsky","tag-arkady-strugatsky","tag-art-of-nonfiction","tag-boris-strugatsky","tag-cinema","tag-emerson","tag-essay","tag-essay-in-the-form-of-a-russian-doll","tag-essays","tag-fiction","tag-film","tag-free","tag-geoff-dyer","tag-hazlitt","tag-interview","tag-into-the-zone","tag-lamb","tag-movie","tag-movies","tag-nineteenth-century","tag-paywall","tag-poem","tag-psychology","tag-revision","tag-roadside-picnic","tag-robyn-selman","tag-short-story","tag-stalker","tag-subscribe","tag-tarkovsky","tag-the-zone"],"acf":[],"yoast_head":"\nRedux: 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