{"id":144343,"date":"2020-04-14T14:29:35","date_gmt":"2020-04-14T18:29:35","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=144343"},"modified":"2020-04-14T14:29:35","modified_gmt":"2020-04-14T18:29:35","slug":"redux-this-caliper-embrace","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/14\/redux-this-caliper-embrace\/","title":{"rendered":"Redux: This Caliper Embrace"},"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><\/p>\n

This week at The Paris Review<\/em>, we\u2019re having a little birthday party for Eudora Welty, Samuel Beckett, and Seamus Heaney, all born on April 13. Read on for Welty\u2019s Art of Fiction interview<\/a>, an excerpt<\/a> from Beckett\u2019s novel Molloy<\/em>, and Heaney\u2019s poem \u201cPolder<\/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 for as long as we\u2019re flattening the curve,\u00a0The Paris Review<\/em>\u00a0will be sending out a new weekly newsletter, The Art of Distance, featuring unlocked archival selections, dispatches from the\u00a0Daily<\/em>, and efforts from our peer organizations. Read the latest edition\u00a0here<\/a>, and then\u00a0sign up for more<\/a>.<\/p>\n

 <\/p>\n

Eudora Welty, The Art of Fiction No. 47<\/a>
\nIssue no. 55 (Fall 1972)<\/em><\/p>\n

At the time of writing, I don\u2019t write for my friends or myself, either; I write for it<\/em>, for the pleasure of it<\/em>. I believe if I stopped to wonder what So-and-so would think, or what I\u2019d feel like if this were read by a stranger, I would be paralyzed. I care what my friends think, very deeply\u2014and it\u2019s only after they\u2019ve read the finished thing that I really can rest, deep down. But in the writing, I have to just keep going straight through with only the thing<\/em> in mind and what it dictates.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

from<\/em> Molloy<\/a>
\nBy Samuel Beckett
\nIssue no. 5 (Spring 1954)<\/em><\/p>\n

There are people the sea doesn\u2019t suit, they prefer the mountains or the plain. Personally, I feel no worse there than anywhere else. Much of my life has ebbed away before this shivering expanse, to the sound of waves in storm and calm, and the claws of the surf.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Polder<\/a>
\nBy Seamus Heaney
\nIssue no. 75 (Spring 1979)<\/em><\/p>\n

After the outburst and the terrible squalls
\nI hooped you with my arms<\/p>\n

and remembered that what could be contained
\ninside this caliper embrace<\/p>\n

the Dutch called bosom<\/em> \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":"

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