{"id":145625,"date":"2020-06-16T13:22:46","date_gmt":"2020-06-16T17:22:46","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=145625"},"modified":"2020-06-16T15:58:29","modified_gmt":"2020-06-16T19:58:29","slug":"redux-in-the-latter-days","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/06\/16\/redux-in-the-latter-days\/","title":{"rendered":"Redux: In the Latter Days"},"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>

Allen Ginsberg, ca. 1979. Photo: Michiel Hendryckx.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re highlighting three archive pieces written by contributors to our new issue<\/a>. Read on for Allen Ginsberg\u2019s Art of Poetry interview<\/a>, Jos\u00e9 Saramago\u2019s \u201cThe Tale of the Unknown Island<\/a>\u201d (as translated by Margaret Jull Costa, subject of the Summer issue\u2019s The Art of Translation No. 7<\/a>), and Lucille Clifton\u2019s poem \u201cshadows<\/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

Allen Ginsberg, The Art of Poetry No. 8<\/a>
\nIssue no. 37 (Spring 1966)<\/em><\/p>\n

\n

INTERVIEWER<\/p>\n

Has there been a time when fear of censorship or similar trouble has made your own expression difficult?<\/p>\n

GINSBERG<\/p>\n

This is so complicated a matter. The beginning of the fear with me was, you know, what would my father say to something that I would write. At the time, writing \u201cHowl\u201d\u2014for instance like I assumed when writing it that it was something that could not be published because I wouldn\u2019t want my daddy to see what was in there. About my sex life, being fucked in the ass, imagine your father reading a thing like that, was what I thought. Though that disappeared as soon as the thing was real, or as soon as I manifested my … you know, it didn\u2019t make that much importance finally. That was sort of a help for writing, because I assumed that it wouldn\u2019t be published, therefore I could say anything that I wanted. So literally just for myself or anybody that I knew personally well, writers who would be willing to appreciate it with a breadth of tolerance\u2014in a piece of work like Howl<\/em>. Who wouldn\u2019t be judging from a moralistic viewpoint but looking for evidences of humanity or secret thought or just actual truthfulness.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

The Tale of the Unknown Island<\/a>
\nBy Jos\u00e9 Saramago, translated by Margaret Jull Costa
\nIssue no. 151 (Summer 1999)<\/em><\/p>\n

A man went to knock at the king\u2019s door and said, Give me a boat. The king\u2019s house had many other doors, but this was the door for petitions. Since the king spent all his time sitting at the door for favors (favors being offered to the king, you understand), whenever he heard someone knocking at the door for petitions, he would pretend not to hear, and only when the continuous pounding of the bronze door knocker became not just deafening, but positively scandalous, disturbing the peace of the neighborhood (people would start muttering, What kind of king is he if he won\u2019t even answer the door), only then would he order the first secretary to go and find out what the supplicant wanted, since there seemed no other way of silencing him.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

shadows<\/a>
\nBy Lucille Clifton
\nIssue no. 137 (Winter 1995)<\/em><\/p>\n

In the latter days
\nyou will come to a place
\ncalled memphis.
\nthere you will wait for awhile
\nby the river mississippi
\nuntil you can feel the shadow
\nof another memphis and another
\nriver. nile.<\/p>\n

wake up girl.
\nyou dreaming \u2026<\/p><\/blockquote>\n

 <\/p>\n

And to read more from the\u00a0<\/em>Paris Review\u00a0archives, make sure to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-seven years\u2019 worth of archives<\/em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on three archive pieces written by contributors to the Summer 2020 issue.<\/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-145625","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: In the Latter Days by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, we\u2019ve lowered the paywall on three archive pieces written by contributors to the Summer 2020 issue.\" \/>\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\/06\/16\/redux-in-the-latter-days\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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