{"id":144922,"date":"2020-05-11T13:32:35","date_gmt":"2020-05-11T17:32:35","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=144922"},"modified":"2020-05-11T14:58:16","modified_gmt":"2020-05-11T18:58:16","slug":"the-art-of-distance-no-8","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/05\/11\/the-art-of-distance-no-8\/","title":{"rendered":"The Art of Distance No. 8"},"content":{"rendered":"

In March,<\/em>\u00a0The Paris Review\u00a0launched<\/em>\u00a0The Art of Distance, a newsletter highlighting unlocked archive pieces that resonate with the staff of<\/em>\u00a0the magazine<\/em>, quarantine-appropriate writing on the<\/em>\u00a0Daily, resources from our peer organizations,<\/em>\u00a0and more. Read Emily Nemens\u2019s introductory letter\u00a0here<\/a>, and find the latest unlocked archive pieces below.<\/em><\/p>\n

\u201cThere is, of course, a great deal to grieve about this long stay-at-home term, but among the things I am truly grateful for\u2014in addition to all the frontline workers who are keeping us safe\u2014is the quiet wellspring of awareness that bubbles every day. So many things were right here all along, in my home, if only I hadn\u2019t been too busy to notice them. For instance, I know my family better than I did eight weeks ago. Having spent all this time with them, I <\/em>like them more, which means I love them better. I can\u2019t regret that. The archive pieces unlocked this week are a grab bag of staff favorites, but I\u2019d like to think of them collectively as a tribute to the handful of unnoticed wonders this strange way of living has the capacity to reveal. It\u2019s a small consolation, I know, but I hope a meaningful one.\u201d \u2014Craig Morgan Teicher, Digital Director<\/em><\/p>\n

\"\"<\/a>

Corey Arnold, Crabbing aboard the <\/em>Rollo, ca. 2008.<\/p><\/div>\n

In one of Corey Arnold\u2019s Fish-Work<\/em> photographs<\/a>, two fishermen process crabs on a ship\u2019s table as the deck tilts at an alarming angle under their feet. In another, they face a foam-topped wave\u2014taller than they are\u2014apparently menacing the starboard rail. The world might be a pitching ship now; the inexpert sailor might turn from the work, mesmerized by the danger of capsizing. But the people who supply our food\u2014fishermen, farmers, grocers, and couriers, among others\u2014carry on, deft and sure-footed. Here\u2019s hoping that the fleets, threatened by rock-bottom prices because of restaurant closures, can continue to do so, and that we can all find our sea legs as the weather continues to shift. \u2014Jane Breakell, Institutional Giving Officer\u00a0<\/strong><\/p>\n

Issue no. 119 features a photo from the American artist Carrie Mae Weems\u2019s \u201cKitchen Table\u201d series<\/a>, her pivotal photographic work consisting of twenty different photos of Weems sitting at her kitchen table. The series explores representations of black women in American culture. The chiaroscuro effect Weems is able to create from just a kitchen lamp is extraordinary. \u2014Rhian Sasseen, Engagement Editor<\/strong><\/p>\n

During a certain period in baseball movies, you couldn\u2019t swing a bat without hitting some unforgettable female characters, from A League of Their Own<\/em>\u2019s Dottie Hinson to the vivacious Annie Savoy of Bull Durham<\/em>. Tony Sanders\u2019s poem \u201cThe Warning Track<\/a>,\u201d from the Spring 1993 issue, is of the same era. It introduces readers to Mary, a New Yorker who longs for the trips to Shea Stadium and the ball fields of her youth while tending to a good-for-nothing husband. The poem eventually leaves Mary behind as life marches on, but her nostalgia remains like a kind of ghost, asking, \u201cCould we regroup\u2009\/\u2009and reconstruct the narrative as it was\u2009\/\u2009complete with those spontaneous digressions we found\u2009\/\u2009sitting together in the stands of an abandoned ballpark.\u201d \u2014Lauren Kane, Assistant Editor<\/strong><\/p>\n

The poet Amy Clampitt was a great noticer, professional level. She writes about flowers, landscapes, expanses, details the way Georgia O\u2019Keeffe paints them\u2014not with those hallucinatory colors but with that kind of insatiable attention, that sense of the experienced world as a fact that is always drawing one out of and beyond oneself; that world is also, of course, full of shadows and uneasy undercurrents. But in her Art of Poetry interview<\/a>, Clampitt recalls that in childhood, \u201cwhat I most enjoyed was the order of the seasons and especially the arrival of spring, which, when you are small, comes from a great distance.\u201d I think many of us are feeling attuned right now to distances near and far, which, in a way, seem to have switched places. Clampitt\u2019s kind of attention helps me begin to sort it all out. \u2014CMT<\/strong><\/p>\n

There is a funeral parlor at the end of my street. In more common times, that corner is silent. But these past few weeks have been different. When I pass by on some insignificant errand, I sometimes see a driver waiting solemnly by the hearse, or witness the funeral director open the door to someone recently bereaved while trying to maintain a respectful, socially distant six feet. I am reminded of \u201cAugust Notebook: A Death<\/a>,\u201d by Robert Hass, in which he reflects on the necessary journeys a body (in this case his brother\u2019s) must make after death. And I\u2019m reminded, too, that during this crisis, and despite the dangers, so many people continue to quietly do their difficult work. \u2014Robin Jones, Publishing Manager<\/strong><\/p>\n

 <\/p>\n

Sign up\u00a0here<\/a>\u00a0to receive a fresh installment of The Art of Distance in your inbox every Monday<\/em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The staff of \u2018The Paris Review\u2019 highlights a few favorite interviews, stories, poems, and more from the archive.<\/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":[63638],"tags":[],"class_list":["post-144922","post","type-post","status-publish","format-standard","hentry","category-the-art-of-distance"],"acf":[],"yoast_head":"\nThe Art of Distance No. 8 by The Paris Review<\/title>\n<meta name=\"description\" content=\"The staff of \u2018The Paris Review\u2019 highlights a few favorite interviews, stories, poems, and more from the archive.\" \/>\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\/05\/11\/the-art-of-distance-no-8\/\" \/>\n<meta property=\"og:locale\" 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