{"id":141587,"date":"2019-12-17T13:00:24","date_gmt":"2019-12-17T18:00:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=141587"},"modified":"2019-12-17T17:15:55","modified_gmt":"2019-12-17T22:15:55","slug":"redux-a-smile-like-collapsed-piano-keys","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/12\/17\/redux-a-smile-like-collapsed-piano-keys\/","title":{"rendered":"Redux: A Smile Like Collapsed Piano Keys"},"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>

Lydia Davis in Paris, 1973.<\/p><\/div>\n

This week, we\u2019re reading pieces all about the art of the piano. Read on for Lydia Davis\u2019s Art of Fiction interview<\/a>, Julio Cort\u00e1zar\u2019s \u201cFeuilletons from A Certain Lucas<\/em><\/a>,\u201d Hanif Abdurraqib\u2019s poem \u201cOff\u2013White<\/a>,\u201d and Sarah Manguso\u2019s essay \u201cOceans<\/a>.\u201d<\/p>\n

If you enjoy these free interviews, stories, and poems, why not\u00a0subscribe<\/a>\u00a0to\u00a0The Paris Review<\/em>\u00a0and read the entire archive? You\u2019ll also get four new issues of the quarterly delivered straight to your door. And don\u2019t forget to listen to\u00a0Season 2<\/a>\u00a0of\u00a0The Paris Review Podcast<\/em>!<\/p>\n

 <\/p>\n

Lydia Davis, Art of Fiction No. 227<\/a>
\nIssue no. 212 (Spring 2015)<\/em><\/p>\n

\n

INTERVIEWER<\/p>\n

I think of the narrator of your story \u201cGlenn Gould,\u201d who wonders whether there is a way of being selfish without hurting anyone.<\/p>\n

DAVIS<\/p>\n

By never marrying, and living alone and having long conversations in the middle of the night with a friend. And by never seeing that person.<\/p><\/blockquote>\n


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

 <\/p>\n

Feuilletons from<\/em> A Certain Lucas<\/a>
\nBy Julio Cort\u00e1zar
\nIssue no. 82 (Winter 1981)<\/em><\/p>\n

A cat had been taught to play the piano and this animal, sitting on a stool, played and played the whole existent piano repertory, and in addition five compositions of its own dedicated to several dogs.<\/p>\n

Otherwise, the cat was possessed of a perfect stupidity, and during concert intermissions he would compose new pieces with a drive that left everyone flabbergasted. In that way he reached opus eighty-nine, during which he was the victim of a brick thrown by someone with a tenacious rage. He sleeps his final sleep in the lobby of the Great Rex Theater, 640 Corrientes.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Off\u2013White<\/a>
\nBy Hanif Abdurraqib
\nIssue no. 227 (Winter 2018)<\/em><\/p>\n

it is a hot summer & I sweat through sheets I don\u2019t change & people haven\u2019t started filming black folks dying yet & so I believe only what the casket tells me to & even then I watch for the dirt to jump & as a boy I lost a whole tooth trying to lean forward like Mike in the \u201cSmooth Criminal\u201d video & it skipped across the kitchen tile & my still-living mother gathered it in a white towel like a new child & here I learned to honor every hero with absence an empty stomach or a smile like collapsed piano keys \u2026<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Oceans<\/a>
\nBy Sarah Manguso
\nIssue no. 228 (Spring 2019)<\/em><\/p>\n

This fact pleased me as it had pleased me to perform Mozart, whose music my piano teacher constantly reminded me sounded deceptively simple but was so difficult that, per the old saying, only the very young and the very old could do it. The urge is to overuse the damper pedal so that the end of one phrase blurs into the beginning of the next. And there I was, in the twentieth century, playing Mozart and proudly showing off my moderately decent ability to perform this simple, difficult work.<\/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\u2019s Redux lowers the paywall on four archive pieces that feature pianos or pianists\u2014human, feline, and otherwise.<\/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-141587","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: A Smile Like Collapsed Piano Keys by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week\u2019s Redux lowers the paywall on four archive pieces that feature pianos or pianists\u2014human, feline, and otherwise.\" \/>\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\/12\/17\/redux-a-smile-like-collapsed-piano-keys\/\" \/>\n<meta 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