{"id":145299,"date":"2020-05-26T11:52:11","date_gmt":"2020-05-26T15:52:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=145299"},"modified":"2020-05-26T14:20:52","modified_gmt":"2020-05-26T18:20:52","slug":"the-art-of-distance-no-10","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/05\/26\/the-art-of-distance-no-10\/","title":{"rendered":"The Art of Distance No. 10"},"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

\u201cIt\u2019s getting warmer\u2014for real this time\u2014and since the world has sort of skipped spring, here at <\/em>The Paris Review, we\u2019re skipping ahead, too. The Summer 2020 issue, no. 233, will hit mailboxes shortly, and the season pretty much starts right after Memorial Day for publishing, so here we are. I know there\u2019s a lot about this summer that will be far from ideal, and I hope some of the unlocked pieces below will help you grieve those things. But we will be able to get outside more and enjoy the weather (and find more excuses to unglue our eyes from screens). The days will be longer (a mixed blessing, I realize, for those with kids), and there will be more time to read, even if not on the beach\u2014at least you won\u2019t grease up your books with suntan lotion. So let us help you get a head start on summer. Meanwhile, please keep staying safe, and we wish you many stunning sunsets, from wherever you view the glorious summer sky.\u201d \u2014Craig Morgan Teicher, Digital Director<\/em><\/p>\n

\"\"<\/a>

Alan Fears, Every Man Is an Island<\/em>, 2019, acrylic on canvas, 30″ x 30″. Image courtesy of Alan Fears.<\/p><\/div>\n

Elena Ferrante\u2019s Art of Fiction interview<\/a> might not be the most obvious choice when it comes to the idea of summer, but for me, her novels and the coming season are one and the same. Summer reading demands a really good plot, something that will stand up to the heat-induced torpor; one of my most vivid summer memories is first reading The Days of Abandonment<\/em> one long July day six years ago. In her interview, Ferrante has the same idea: \u201cIn the case of The Days of Abandonment<\/em>,\u201d she says, \u201cthe writing freed the story in a short time, over one summer.\u201d \u2014Rhian Sasseen, Engagement Editor\u00a0<\/strong><\/p>\n

I think of Hernan Diaz\u2019s incredible novel In the Distance<\/em> as a summer book because it\u2019s mostly set in the American West in hot, unforgiving weather. The Review<\/em> didn\u2019t publish it, so I can\u2019t unlock it here. But I can share Diaz\u2019s story \u201cThe Stay<\/a>,\u201d from issue no. 227, which I remember reading around this time a year ago. It\u2019s a story about being stuck indoors in a strange apartment, watching movies, and the weird kinds of friendships that can form from a distance. So some overlaps with the present situation. And it\u2019s marvelously diverting. \u2014CMT<\/strong><\/p>\n

J.\u2009D. Salinger was, among other things, a great practitioner of self-isolation, and Betty Eppes\u2019s glorious piece \u201cWhat I Did Last Summer<\/a>\u201d is perhaps the closest the Review<\/em> has come to an Art of Distance interview. (We shared this one a few weeks ago, but in case you missed it, here it is again.) Eppes is looking to fill the summer vacation and score a scoop, so she sets out for New England to corner the famous recluse. \u201cSalinger isn\u2019t one of my favorite writers,\u201d she admits. \u201cWhat had fascinated me was that as a girl in Smith County, Mississippi, where males and females are very secluded from one another, I had two older brothers, and reading The Catcher in the Rye<\/em> was like opening a secret door into their private male world.\u201d As with many such mysteries, there appears to be little behind the curtain. She leaves a note for Salinger in the local post office, stakes him out in a \u201csky-blue Pinto,\u201d drinks dozens of Tabs, hides a recorder in her blouse, and, when he arrives, rattles through her questions as an audience gathers in horror. As summer adventures tend to, it goes awry. Salinger is recalcitrant; the longest answer he offers is after, grasping at straws, she asks, \u201cAre you informed on the differences between cold-pressed oil as opposed to oil extracted by other methods?\u201d Fear not, dear reader, he is. Next summer, it\u2019s a trip to England to interview George Mason: \u201cHe was a piece of cake compared to J.\u2009D. Salinger.\u201d \u2014Chris Littlewood, Intern<\/strong><\/p>\n

Like summer, grief is impermanent. Mary Terrier\u2019s \u201cGuests<\/a>\u201d is a sharply rendered portrait of adolescence that takes place the summer after the narrator\u2019s mother dies. Her father\u2019s new, younger girlfriend becomes de facto babysitter to her and her brother during the day, and Terrier\u2019s eye catches with grace and precision a young girl\u2019s confusion at finding herself swept into the carefree world of life without a mom. After you\u2019ve read the story, listen to Molly Ringwald reading it in this episode<\/a> of our podcast. \u2014Lauren Kane, Assistant Editor<\/strong><\/p>\n

It\u2019s hard not to feel wistful when thinking about this time last year. I spent a good part of summer 2019 sitting on a beach in Delaware with issue no. 229 in hand, flipping through Alan Fears\u2019s portfolio of summer-themed paintings, \u201cI\u2019m OK, You\u2019re OK<\/a>.\u201d One, cheekily titled Hot Ken<\/em>, depicts a pink-faced man with a thin blond mustache on a striped beach chair. In another, a neat row of surfers with identical half smiles stand clutching a board that reads: PROFESSIONAL<\/small>. It\u2019s titled Slippery When Wet<\/em>. Perhaps my favorite, however, is A Light Refreshment<\/em>, an image of a lean, elegant man enjoying an aperitif on a bright green tennis court. These paintings seemed to mirror the landscape around me\u2014the crowds of sunbathers and swimmers at leisure in a manner that now seems preposterous. The final line of Charlotte Strick\u2019s introduction makes me yearn for summers both past and future. \u201cLet\u2019s slather on some PABA-free SPF 50 and try our best to turn our attention away from the troubling news and toward one another,\u201d Strick writes. \u201cLet\u2019s dip our toes in the pool and get back to the serious business of the unserious. This pursuit may just help us sail free of the darker seasons behind us.\u201d \u2014Elinor Hitt, Intern<\/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":"

In lieu of a swimming pool, the staff of \u2018The Paris Review\u2019 takes a much-needed dip in 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-145299","post","type-post","status-publish","format-standard","hentry","category-the-art-of-distance"],"acf":[],"yoast_head":"\nThe Art of Distance No. 10 by The Paris Review<\/title>\n<meta name=\"description\" content=\"In lieu of a swimming pool, the staff of \u2018The Paris Review\u2019 takes a much-needed dip in 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\/26\/the-art-of-distance-no-10\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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