{"id":134682,"date":"2019-03-19T13:00:01","date_gmt":"2019-03-19T17:00:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=134682"},"modified":"2019-03-19T11:26:54","modified_gmt":"2019-03-19T15:26:54","slug":"redux-theres-no-trouble-in-sleeping","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/03\/19\/redux-theres-no-trouble-in-sleeping\/","title":{"rendered":"Redux: There\u2019s No Trouble in Sleeping"},"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>

Video still of Isaac Bashevis Singer, by Tetsuo Kogawa, 1977.<\/p><\/div>\n

This week, we\u2019re looking back at work previously published in the Review<\/em> from three contributors to our current issue: Isaac Bashevis Singer\u2019s 1968 Art of Fiction interview<\/a>, Peter Orner\u2019s short story \u201cFoley\u2019s Pond<\/a>,\u201d and Carl Phillips\u2019s poem \u201cThe Swain\u2019s Invitation<\/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

Isaac Bashevis Singer, The Art of Fiction No. 42<\/a>
\nIssue no. 44 (Fall 1968)<\/em><\/p>\n

The problem is that it\u2019s very hard to find a perfect equivalent for an idiom in another language. But then it\u2019s also a fact that we all learned our literature through translation. Most people have studied the Bible only in translation, have read Homer in translation, and all the classics. Translation, although it does do damage to an author, it cannot kill him: if he\u2019s really good, he will come out even in translation. And I have seen it in my own case. Also, translation helps me in a way. Because I go through my writings again and again while I edit the translation and work with the translator, and while I am doing this I see all the defects of my writing. Translation has helped me avoid pitfalls which I might not have avoided if I had written the work in Yiddish and published it and not been forced because of the translation to read it again.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

Foley\u2019s Pond<\/a>
\nBy Peter Orner
\nIssue no. 202 (Fall 2012)<\/em><\/p>\n

After school we\u2019d go down there and talk down the waterlogged afternoons. There is something overripe about spring in the Midwest, the wet and green world, the ground itself rotten, oozing, dripping. Foley\u2019s was protected by a canopy of trees. The sun only crept through in speckles. There was nothing beautiful about that pond, even in April, except that it was ours. Foley\u2019s in the rain, the rain smacking the leaves, how hidden we were, talking and talking and talking about God only knows what. Had we been a little older we may have drunk beers or smoked dope or brought girls so they could scream about not wanting to go anywhere near that disgusting water. We were thirteen and conspiratorial and what was said is now out of reach, as it should be.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

The Swain\u2019s Invitation<\/a>
\nBy Carl Phillips
\nIssue no. 135 (Summer 1995)<\/em><\/p>\n

The barn is warm, come inside, lie down,
\nsleep. Here, no sheep ever fails<\/p>\n

in jumping, tears its dug or anything
\nelse tender on the fencing\u2019s barbed wire<\/p>\n

and, losing all the grace that true
\njumping is made of, leaves you, flushed,<\/p>\n

to start all over again counting \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 archive pieces by three writers who appear in the Spring 2019 issue: Isaac Bashevis Singer, Peter Orner, and Carl Phillips.<\/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":[16304,1016,19555,71,28453,241,31176,504,8583,3539,7221,1447,165,31384,261,3037,51209],"class_list":["post-134682","post","type-post","status-publish","format-standard","hentry","category-redux","tag-archive","tag-art-of-fiction","tag-carl-phillips","tag-fiction","tag-foleys-pond","tag-interview","tag-isaac-bashevis-singer","tag-literature","tag-peter-orner","tag-poem","tag-poems","tag-poet","tag-poetry","tag-redux","tag-short-story","tag-yiddish","tag-yiddish-literature"],"acf":[],"yoast_head":"\nRedux: There\u2019s No Trouble in Sleeping by The Paris Review<\/title>\n<meta name=\"description\" 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