{"id":133938,"date":"2019-02-26T13:00:06","date_gmt":"2019-02-26T18:00:06","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=133938"},"modified":"2019-02-26T11:00:13","modified_gmt":"2019-02-26T16:00:13","slug":"redux-eerie-fictions-of-the-afternoon","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/02\/26\/redux-eerie-fictions-of-the-afternoon\/","title":{"rendered":"Redux: Eerie Fictions of the Afternoon"},"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>

Joan Didion, John Gregory Dunne, and their daughter, Quintana Roo.<\/p><\/div>\n

The Oscars were on Sunday, and we\u2019ve got movies on the brain. This week, we\u2019re reading John Gregory Dunne on the Art of Screenwriting<\/a>, Susan Minot\u2019s short story \u201cThe Man Who Would Not Go Away<\/a>,\u201d and Chase Twichell\u2019s poem \u201cBad Movie, Bad Audience<\/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

John Gregory Dunne, The Art of Screenwriting No. 2<\/a>
\nIssue no. 138 (Spring 1996)<\/em><\/p>\n

What the screenwriter is ceding to the director is pace, mood, style, point of view, which in a book are the function of the writer. The director controls the writing room, and it\u2019s in the editing room where a picture is made.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

The Man Who Would Not Go Away<\/a>
\nBy Susan Minot
\nIssue no. 109 (Winter 1988)<\/em><\/p>\n

Going to the movies, people say, is like returning to the womb. But that\u2019s not quite right. Your eyes are one pair in a galaxy of eyes, all gazing with a kind of rapture at bright things flickering across a screen. You watch the same movement, have the same current running through your hearts. You\u2019re not alone at all.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Bad Movie, Bad Audience<\/a>
\nBy Chase Twichell
\nIssue no. 124 (Fall 1992)<\/em><\/p>\n

Matin\u00e9es are the best time
\nfor bad movies\u2014squad cars
\nspewing orange flame, the telephone
\ndead in the babysitter\u2019s hand.
\nGlinting with knives and missiles,
\nmen stalk through the double
\nwilderness of sex and war
\nall through the eerie
\nfictions of the afternoon \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 John Gregory Dunne\u2019s Art of Screenwriting interview, a short story by Susan Minot, and a poem by Chase 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