{"id":138339,"date":"2019-07-30T13:00:01","date_gmt":"2019-07-30T17:00:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=138339"},"modified":"2019-07-30T12:35:53","modified_gmt":"2019-07-30T16:35:53","slug":"redux-collectors-of-clippings","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/07\/30\/redux-collectors-of-clippings\/","title":{"rendered":"Redux: Collectors of Clippings"},"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 pieces delivered straight to your inbox every Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/em><\/p>\n

\"\"<\/a>

Toni Morrison. Photo: Angela Radulescu.<\/p><\/div>\n

The Paris Review<\/em> meets The New York Review of Books<\/em>: our summer subscription deal continues! To celebrate, we\u2019re taking a dive into both<\/em> of our archives for this week\u2019s Redux. Read on for Toni Morrison\u2019s Art of Fiction interview<\/a>, paired with her 2001 essay \u201cOn \u2018The Radiance of the King\u2019<\/a>\u2009\u201d; Mary McCarthy\u2019s Art of Fiction interview<\/a>, paired with her 1972 essay \u201cA Guide to Exiles, Expatriates, and Internal Emigr\u00e9s<\/a>\u201d; and Ernest Hemingway\u2019s Art of Fiction interview<\/a>, paired with George Plimpton\u2019s 1980 speech<\/a> reminiscing about this interview.<\/p>\n

If you enjoy these free interviews and essays, why not\u00a0subscribe<\/a> to both magazines? From now through the end of August, you\u2019ll pay just $99\u201435% off\u2014to receive a yearlong subscription to both The Paris Review<\/em>\u00a0and\u00a0The New York Review of Books<\/em>, as well as complete access to their respective archives. And if you\u2019re already a\u00a0Paris Review<\/em>\u00a0subscriber, never fear\u2014this deal will extend your current subscription, and your new subscription to\u00a0The New York Review<\/em> will begin immediately. <\/p>\n

 <\/p>\n

Toni Morrison, The Art of Fiction No. 134<\/a>
\nThe Paris Review, issue no. 128 (Fall 1993)<\/em><\/p>\n

I don\u2019t trust my writing that is not written, although I work very hard in subsequent revisions to remove the writerly-ness from it, to give it a combination of lyrical, standard, and colloquial language. To pull all these things together into something that I think is much more alive and representative. But I don\u2019t trust something that occurs to me and then is spoken and transferred immediately to the page.<\/p><\/blockquote>\n

On \u2018The Radiance of the King\u2019<\/a>
\nBy Toni Morrison
\nThe New York Review of Books, volume 48, no. 13 (August 9, 2001)<\/em><\/p>\n

World War II was over before I sampled fiction set in Africa. Often brilliant, always fascinating, these narratives elaborated on the very mythology that accompanied those velvet plates floating between the pews.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Mary McCarthy. Drawing by Hans Beck, 1962.<\/p><\/div>\n

 <\/p>\n

Mary McCarthy, The Art of Fiction No. 27<\/a>
\nThe Paris Review, issue no. 27 (Winter\u2013Spring 1962)<\/em><\/p>\n

I\u2019ve never liked the conventional conception of \u201cstyle.\u201d What\u2019s confusing is that style usually means some form of fancy writing\u2014when people say, oh yes, so and so\u2019s such a \u201cwonderful stylist.\u201d But if one means by style the voice, the irreducible and always recognizable and alive thing, then of course style is really everything.<\/p><\/blockquote>\n

A Guide to Exiles, Expatriates, and Internal Emigr\u00e9s<\/a>
\nBy Mary McCarthy
\nThe New York Review of Books, volume 18, no. 4 (March 9, 1972)<\/em><\/p>\n

More than anybody (except lovers), exiles are dependent on mail. A Greek writer friend in Paris was the only person I knew to suffer real pain during the events of May, 1968, when the mail was cut off. In the absence of news from Greece, i.e., political news, he was wasting away, somebody deprived of sustenance. They are also great readers of newspapers and collectors of clippings.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Ernest Hemingway. Photo: Lloyd Arnold.<\/p><\/div>\n

 <\/p>\n

Ernest Hemingway, The Art of Fiction No. 21<\/a>
\nThe Paris Review, issue no. 18 (Spring 1958)<\/em><\/p>\n

When I am working on a book or a story I write every morning as soon after first light as possible. There is no one to disturb you and it is cool or cold and you come to your work and warm as you write.<\/p><\/blockquote>\n

A Clean Well-Lighted Place<\/a>
\nBy George Plimpton
\nThe New York Review of Books, volume 27, no. 20 (December 18, 1980)<\/em><\/p>\n

Hemingway didn\u2019t enjoy talking about writing. He felt it was a sort of draining operation, like drawing water from a well that wasn\u2019t replenished that easily. So whenever I asked him a question about writing it was always with a faint wince that perhaps the response would be physical rather than verbal. It was like waving a match near the fuse of a bomb.<\/p><\/blockquote>\n

 <\/p>\n

If you like what you read,\u00a0subscribe<\/a>\u00a0to both\u00a0<\/em>The Paris Review\u00a0and\u00a0<\/em>The New York Review of Books\u00a0for just $99.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

A dive into the archives of \u2018The Paris Review\u2019 and \u2018The New York Review of Books.\u2019<\/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":[],"class_list":["post-138339","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Collectors of Clippings by The Paris Review<\/title>\n<meta name=\"description\" content=\"A dive into the archives of \u2018The Paris Review\u2019 and \u2018The New York Review of Books.\u2019\" \/>\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\/07\/30\/redux-collectors-of-clippings\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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