{"id":142199,"date":"2020-01-21T13:00:59","date_gmt":"2020-01-21T18:00:59","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=142199"},"modified":"2020-01-21T12:52:17","modified_gmt":"2020-01-21T17:52:17","slug":"redux-two-eyes-that-are-the-sunset-of-two-knees","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/","title":{"rendered":"Redux: Two Eyes That Are the Sunset of Two Knees"},"content":{"rendered":"<p><em>Every week, the editors of\u00a0<\/em>The Paris Review<em>\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\u00a0<a href=\"http:\/\/eepurl.com\/dkY3AH\" target=\"_blank\" rel=\"noopener noreferrer\">signing up for the Redux newsletter<\/a>.<\/em><\/p>\n<div id=\"attachment_142201\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/theparisreview.org\/interviews\/2415\/john-fowles-the-art-of-fiction-no-109-john-fowles\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-142201\" class=\"wp-image-142201 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg\" alt=\"\" width=\"1000\" height=\"666\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles-768x511.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-142201\" class=\"wp-caption-text\">John Fowles. Photo: Carolyn Djanogly.<\/p><\/div>\n<p>This week at <em>The Paris Review<\/em>, we\u2019re inspired by the art of dance. Read on for John Fowles\u2019s <a href=\"https:\/\/theparisreview.org\/interviews\/2415\/john-fowles-the-art-of-fiction-no-109-john-fowles\" target=\"_blank\" rel=\"noopener noreferrer\">Art of Fiction interview<\/a>, Vilma Howard\u2019s short story \u201c<a href=\"https:\/\/theparisreview.org\/fiction\/5056\/belle-vilma-howard\" target=\"_blank\" rel=\"noopener noreferrer\">Belle<\/a>,\u201d and Frank O\u2019Hara\u2019s poem \u201c<a href=\"https:\/\/theparisreview.org\/poetry\/4146\/ode-to-tanaquil-leclerc-frank-ohara\" target=\"_blank\" rel=\"noopener noreferrer\">Ode to Tanaquil Leclerc<\/a>.\u201d<\/p>\n<p>If you enjoy these free interviews, stories, and poems, why not\u00a0<a href=\"https:\/\/ssl.drgnetwork.com\/ecom\/TPR\/app\/live\/subscriptions?org=TPR&amp;publ=PR&amp;key_code=ENAPRFX&amp;type=S&amp;gift_key=TESTFXG&amp;utm_source=ReduxBlogpost\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe<\/a>\u00a0to\u00a0<em>The 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\u00a0<a href=\"https:\/\/www.theparisreview.org\/podcast\/podcast-season-2\" target=\"_blank\" rel=\"noopener noreferrer\">Season 2<\/a>\u00a0of\u00a0<em>The Paris Review Podcast<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/theparisreview.org\/interviews\/2415\/john-fowles-the-art-of-fiction-no-109-john-fowles\" target=\"_blank\" rel=\"noopener noreferrer\">John Fowles, The Art of Fiction No. 109<\/a><br \/>\n<em>Issue no. 111 (Summer 1989)<\/em><\/p>\n<blockquote><p>I am a great believer in diaries, if only in the sense that bar exercises are good for ballet dancers: it\u2019s often through personal diaries\u2014however embarrassing they are to read now\u2014that the novelist discovers his true bent\u2014that he can narrate real events and distort them to please himself, describe character, observe other human beings, hypothesize, invent, all the rest.<\/p><\/blockquote>\n<p><!--more--><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/theparisreview.org\/fiction\/5056\/belle-vilma-howard\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-142205\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/belle.jpg\" alt=\"\" width=\"1000\" height=\"667\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/belle.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/belle-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/belle-768x512.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/theparisreview.org\/fiction\/5056\/belle-vilma-howard\" target=\"_blank\" rel=\"noopener noreferrer\">Belle<\/a><br \/>\nBy Vilma Howard<br \/>\n<em>Issue no. 8 (Spring 1955)<\/em><\/p>\n<blockquote><p>Belle was always running from or after somebody. One time at the Musetta house party she ran from Skeezer all night until Pretty Willie came after her and then she started looking for Skeezer again. But he was mad at her by that time because he didn\u2019t think she should of danced with Pretty Willie in the first place.<\/p>\n<p>When Pretty Willie\u2019d come over, Skeezer told him, \u201cYou better not let your wife catch you over here fooling around.\u201d<\/p>\n<p>But Pretty Willie said, \u201cAw, she told me I could dance with Belle.\u201d<\/p>\n<p>So Belle danced with him anyway because he was a good dancer before he got married. And then he had to start carrying on.<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/theparisreview.org\/poetry\/4146\/ode-to-tanaquil-leclerc-frank-ohara\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-142206 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/ode.jpg\" alt=\"\" width=\"1000\" height=\"666\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/ode.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/ode-300x200.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/ode-768x511.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><a href=\"https:\/\/theparisreview.org\/poetry\/4146\/ode-to-tanaquil-leclerc-frank-ohara\" target=\"_blank\" rel=\"noopener noreferrer\">Ode to Tanaquil Leclerc<\/a><br \/>\nBy Frank O\u2019Hara<br \/>\n<em>Issue no. 49 (Summer 1970)<\/em><\/p>\n<blockquote><p>Smiling through my own memories of painful excitement<br \/>\nyour wide eyes stare<br \/>\n<span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span>and narrow like a lost forest of childhood stolen from<br \/>\n<span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span>gypsies<br \/>\ntwo eyes that are the sunset of<br \/>\n<span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;&#8230;<\/span>two knees<br \/>\n<span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..<\/span>two wrists<br \/>\n<span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span><span style=\"color: #ffffff;\">&#8230;&#8230;.<\/span>two minds<br \/>\nand the extended philosophical column \u2026<\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p><em>If you like what you read,\u00a0<a href=\"https:\/\/ssl.drgnetwork.com\/ecom\/TPR\/app\/live\/subscriptions?org=TPR&amp;publ=PR&amp;key_code=ENAPRFX&amp;type=S&amp;gift_key=TESTFXG&amp;utm_source=ReduxBlogpost\" target=\"_blank\" rel=\"noreferrer noopener\">get a year of<\/a>\u00a0<\/em>The Paris Review<em>\u2014four new issues, plus instant access to everything we\u2019ve ever published.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This week, we\u2019ve lowered the paywall on John Fowles\u2019s Art of Fiction interview, a short story by Vilma Howard, and a poem by Frank O\u2019Hara.<\/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-142199","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Redux: Two Eyes That Are the Sunset of Two Knees by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, we\u2019ve lowered the paywall on John Fowles\u2019s Art of Fiction interview, a short story by Vilma Howard, and a poem by Frank O\u2019Hara.\" \/>\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\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Redux: Two Eyes That Are the Sunset of Two Knees by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"January 21, 2020 \u2013 This week, we\u2019ve lowered the paywall on John Fowles\u2019s Art of Fiction interview, a short story by Vilma Howard, and a poem by Frank O\u2019Hara.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/\" \/>\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=\"2020-01-21T18:00:59+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"666\" \/>\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\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Redux: Two Eyes That Are the Sunset of Two Knees\",\"datePublished\":\"2020-01-21T18:00:59+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/\"},\"wordCount\":437,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg\",\"articleSection\":[\"Redux\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/\",\"name\":\"Redux: Two Eyes That Are the Sunset of Two Knees by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg\",\"datePublished\":\"2020-01-21T18:00:59+00:00\",\"description\":\"This week, we\u2019ve lowered the paywall on John Fowles\u2019s Art of Fiction interview, a short story by Vilma Howard, and a poem by Frank O\u2019Hara.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg\",\"width\":1000,\"height\":666,\"caption\":\"John Fowles. Photo: Carolyn Djanogly.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Redux: Two Eyes That Are the Sunset of Two Knees\"}]},{\"@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: Two Eyes That Are the Sunset of Two Knees by The Paris Review","description":"This week, we\u2019ve lowered the paywall on John Fowles\u2019s Art of Fiction interview, a short story by Vilma Howard, and a poem by Frank O\u2019Hara.","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\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/","og_locale":"en_US","og_type":"article","og_title":"Redux: Two Eyes That Are the Sunset of Two Knees by The Paris Review","og_description":"January 21, 2020 \u2013 This week, we\u2019ve lowered the paywall on John Fowles\u2019s Art of Fiction interview, a short story by Vilma Howard, and a poem by Frank O\u2019Hara.","og_url":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2020-01-21T18:00:59+00:00","og_image":[{"width":1000,"height":666,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.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\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Redux: Two Eyes That Are the Sunset of Two Knees","datePublished":"2020-01-21T18:00:59+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/"},"wordCount":437,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg","articleSection":["Redux"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/","url":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/","name":"Redux: Two Eyes That Are the Sunset of Two Knees by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg","datePublished":"2020-01-21T18:00:59+00:00","description":"This week, we\u2019ve lowered the paywall on John Fowles\u2019s Art of Fiction interview, a short story by Vilma Howard, and a poem by Frank O\u2019Hara.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2020\/01\/fowles.jpg","width":1000,"height":666,"caption":"John Fowles. Photo: Carolyn Djanogly."},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2020\/01\/21\/redux-two-eyes-that-are-the-sunset-of-two-knees\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Redux: Two Eyes That Are the Sunset of Two Knees"}]},{"@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\/142199","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=142199"}],"version-history":[{"count":5,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/142199\/revisions"}],"predecessor-version":[{"id":142209,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/142199\/revisions\/142209"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=142199"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=142199"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=142199"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}