{"id":133065,"date":"2019-01-29T13:00:29","date_gmt":"2019-01-29T18:00:29","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=133065"},"modified":"2019-01-28T13:07:42","modified_gmt":"2019-01-28T18:07:42","slug":"redux-the-seismographic-ear","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/","title":{"rendered":"Redux: The Seismographic Ear"},"content":{"rendered":"

Every week, the editors of\u00a0<\/i>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 pieces delivered straight to your inbox every Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/i><\/p>\n

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

This week, we bring you Alice Munro\u2019s 1994 Art of Fiction interview<\/a>, Shelley Jackson\u2019s short story \u201cHusband<\/a>,\u201d and Laurance Wieder\u2019s poem \u201cThe Seismographic Ear<\/a>.\u201d<\/p>\n

If you enjoy these free interviews, stories, and poems, why not\u00a0subscribe to read the entire archive<\/a>? You\u2019ll also get four new issues of the quarterly delivered straight to your door.<\/p>\n

 <\/p>\n

Alice Munro, The Art of Fiction No. 137<\/a>
\nIssue no. 131 (Summer 1994)<\/em><\/p>\n

The story fails but your faith in the importance of doing the story doesn\u2019t fail. That it might is the danger. This may be the beast that\u2019s lurking in the closet in old age\u2014the loss of the feeling that things are worth doing.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

Husband<\/a>
\nBy Shelley Jackson
\nIssue no. 164 (Winter 2002\u20132003)<\/em><\/p>\n

I am a lady drone and a big eater. I eat for the tribe and I eat well. How I gorge, grinning back at my spare teeth on the wall, knowing the tribe depends on me! My chewing does not deviate from regulation by more than one point two five beats per minute, and my digestion is irreproachable. I polish my tackle daily, brushing all my teeth whether I have used them or not, the second-best and third-best set, the travel tooth I have seldom used and the ugly spatulate guest tooth, as also the rarer items, the fragile ceremonial embouchure of the gift tooth and the miniature krill of the husband stripper, never used, which is beautiful as a diadem and of the very best make, and I hang them on their hooks on the wall of my bungalow.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

The Seismographic Ear<\/a>
\nBy Laurance Wieder
\nIssue no. 44 (Fall 1968)<\/em><\/p>\n

The reason that I choose this flat
\nProsey tone is that I know the truth
\nWill not be found in elaborate fountains
\nWhich evocative gush refracting images
\nTo daze, sparkle, reticulate and astound
\nCleaved sense. Such truths as may exist
\nExist by dint of silence, distinct fragrance
\nOr by simple quiet phrases which put to bed
\nAll doubts. For example, I was born
\nA simple salmon in the river without words
\nThough learned them later and employed
\nFigures, arabesques, leaps, deletions and inflections
\nWith great echoes to obtain, retain and nurture
\nEggs, out of the ocean, over the dam, spawn \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 Alice Munro\u2019s Art of Fiction interview, a story by Shelley Jackson, and a poem by Laurance Wieder.<\/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":[262,16304,1016,1906,17,1432,689,25305,71,35131,24845,241,47755,504,4279,11770,112,38793,3539,165,31384,21232,7965,261,4420,25993,47754],"class_list":["post-133065","post","type-post","status-publish","format-standard","hentry","category-redux","tag-alice-munro","tag-archive","tag-art-of-fiction","tag-book","tag-books","tag-canada","tag-craft","tag-ear","tag-fiction","tag-free","tag-husband","tag-interview","tag-laurance-wieder","tag-literature","tag-nobel-prize","tag-nobel-prize-in-literature","tag-novel","tag-paywall","tag-poem","tag-poetry","tag-redux","tag-salmon","tag-shelley-jackson","tag-short-story","tag-teeth","tag-weird","tag-weird-fiction"],"acf":[],"yoast_head":"\nRedux: The Seismographic Ear by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, we\u2019ve lowered the paywall on Alice Munro\u2019s Art of Fiction interview, a story by Shelley Jackson, and a poem by Laurance Wieder.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Redux: The Seismographic Ear by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"January 29, 2019 \u2013 This week, we\u2019ve lowered the paywall on Alice Munro\u2019s Art of Fiction interview, a story by Shelley Jackson, and a poem by Laurance Wieder.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-01-29T18:00:29+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"800\" \/>\n\t<meta property=\"og:image:height\" content=\"534\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Redux: The Seismographic Ear\",\"datePublished\":\"2019-01-29T18:00:29+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/\"},\"wordCount\":450,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg\",\"keywords\":[\"Alice Munro\",\"archive\",\"Art of Fiction\",\"book\",\"books\",\"Canada\",\"craft\",\"ear\",\"fiction\",\"free\",\"husband\",\"interview\",\"Laurance Wieder\",\"literature\",\"Nobel Prize\",\"Nobel Prize in Literature\",\"novel\",\"paywall\",\"poem\",\"poetry\",\"Redux\",\"salmon\",\"Shelley Jackson\",\"short story\",\"teeth\",\"weird\",\"weird fiction\"],\"articleSection\":[\"Redux\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/\",\"name\":\"Redux: The Seismographic Ear by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg\",\"datePublished\":\"2019-01-29T18:00:29+00:00\",\"description\":\"This week, we\u2019ve lowered the paywall on Alice Munro\u2019s Art of Fiction interview, a story by Shelley Jackson, and a poem by Laurance Wieder.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg\",\"width\":800,\"height\":534},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Redux: The Seismographic Ear\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\",\"name\":\"The Paris Review\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"caption\":\"The Paris Review\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Redux: The Seismographic Ear by The Paris Review","description":"This week, we\u2019ve lowered the paywall on Alice Munro\u2019s Art of Fiction interview, a story by Shelley Jackson, and a poem by Laurance Wieder.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/","og_locale":"en_US","og_type":"article","og_title":"Redux: The Seismographic Ear by The Paris Review","og_description":"January 29, 2019 \u2013 This week, we\u2019ve lowered the paywall on Alice Munro\u2019s Art of Fiction interview, a story by Shelley Jackson, and a poem by Laurance Wieder.","og_url":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2019-01-29T18:00:29+00:00","og_image":[{"width":800,"height":534,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg","type":"image\/jpeg"}],"author":"The Paris Review","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"The Paris Review","Est. reading time":"2 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Redux: The Seismographic Ear","datePublished":"2019-01-29T18:00:29+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/"},"wordCount":450,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg","keywords":["Alice Munro","archive","Art of Fiction","book","books","Canada","craft","ear","fiction","free","husband","interview","Laurance Wieder","literature","Nobel Prize","Nobel Prize in Literature","novel","paywall","poem","poetry","Redux","salmon","Shelley Jackson","short story","teeth","weird","weird fiction"],"articleSection":["Redux"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/","url":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/","name":"Redux: The Seismographic Ear by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg","datePublished":"2019-01-29T18:00:29+00:00","description":"This week, we\u2019ve lowered the paywall on Alice Munro\u2019s Art of Fiction interview, a story by Shelley Jackson, and a poem by Laurance Wieder.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2019\/01\/alice-munro.jpg","width":800,"height":534},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2019\/01\/29\/redux-the-seismographic-ear\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Redux: The Seismographic Ear"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e","name":"The Paris Review","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","caption":"The Paris Review"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/133065","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=133065"}],"version-history":[{"count":6,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/133065\/revisions"}],"predecessor-version":[{"id":133077,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/133065\/revisions\/133077"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=133065"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=133065"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=133065"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}