{"id":145953,"date":"2020-07-06T14:28:01","date_gmt":"2020-07-06T18:28:01","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=145953"},"modified":"2020-07-06T17:13:40","modified_gmt":"2020-07-06T21:13:40","slug":"the-art-of-distance-no-16","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/06\/the-art-of-distance-no-16\/","title":{"rendered":"The Art of Distance No. 16"},"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

\u201cAs the pandemic set in, a peculiar thing happened to me: I found myself unable to read fiction, despite having always been drawn to novels and short stories over essays or poetry. I suppose I like the escapist element, or can appreciate a good lie; as Gabriel Garc\u00eda M\u00e1rquez, a former journalist, said in his Art of Fiction interview<\/a>, \u2018A novelist can do anything he wants so long as he makes people believe in it.\u2019 In those early days of panic and uncertainty, the appeal of nonfiction, of facts, figures, and interviews\u2014of real people and real events\u2014was obvious. Public understanding of the coronavirus was murky at best, and I didn\u2019t quite know who or what to believe. Months have passed since and we have learned more about the particulars of this disease, and how best to prevent its spread; I\u2019ve also returned to reading fiction. But I still find myself intrigued by reportage, essay, documentary, and the like. This week\u2019s Art of Distance highlights some of the boundary-pushing nonfiction that the <\/em>Review has published over its sixty-seven years, and pokes at that sometimes tenuous border that separates fact from fiction. (It\u2019s a border that has at times stretched and changed even within our own pages: this excerpt<\/a> from Jean Genet\u2019s novel <\/em>A Thief\u2019s Journal was published as a work of nonfiction in issue no. 13.) Read on for all the news that\u2019s fit to print\u2014or, at least, to be unlocked from the <\/em>Paris Review archives.\u201d \u2014Rhian Sasseen, Engagement Editor<\/em><\/p>\n

\"\"<\/a>

Gabriel Garc\u00eda M\u00e1rquez.<\/p><\/div>\n

I\u2019d be remiss if I didn\u2019t open this survey with The Art of Nonfiction No. 1<\/a>, in which Joan Didion speaks with Hilton Als. While Didion constantly dances between nonfiction and fiction (she was also the subject of an Art of Fiction interview<\/a>), there is something especially fascinating in the way she describes the differences between the two genres: \u201cWriting nonfiction is more like sculpture, a matter of shaping the research into the finished thing. Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with.\u201d <\/p>\n

As I mentioned above, Gabriel Garc\u00eda M\u00e1rquez was a writer who worked in newspapers in the early days of his career; in this feature<\/a> from the Winter 1996 issue, written by Silvana Paternostro, M\u00e1rquez discusses his own reportaje<\/em>, saying: \u201cThe strange episodes in my novels are all real, or they have a starting point, a basis in reality. Real life is always much more interesting than what we can invent.\u201d<\/p>\n

The question of classification, of what constitutes history or fabrication, comes up again and again in discussions of the work of W.\u2009G. Sebald, whose novels incorporate photos, facts, and real people and events in a way that stretches the already-elastic definition of the novel. Here, in this 1999 profile<\/a> from issue no. 151\u2014published just two years before Sebald\u2019s unexpected death from a brain aneurysm while driving\u2014the question of fact versus fiction comes up again: \u201cFacts are troublesome,\u201d he tells James Atlas. \u201cThe idea is to make it seem factual, though some of it might be invented.\u201d<\/p>\n

Of course, recording facts is a form of witnessing, too, and some writers weave facts together in works that, in their emotional complexity, are equal to any novel, such as the Belarusian writer Svetlana Alexievich, who creates literary collages out of interviews on subjects ranging from Chernobyl to the experiences of Soviet women in World War II. Her \u201cVoices from Chernobyl<\/a>\u201d can be found in issue no. 172. And \u201cNineteen Days<\/a>,\u201d a series of diary entries from the dissident Chinese writer Liao Yiwu, published in the Summer 2009 issue, paints a clearer portrait of political repression in contemporary China through this record of events on June 4 each year from 1989 to 2009.<\/p>\n

There\u2019s plenty of more traditional on-the-ground reporting, too, such as Karl Taro Greenfeld\u2019s \u201cWild Flavor<\/a>,\u201d which follows a worker named Fang Lin at the turn of the new millennium and the early days of the SARS<\/small> outbreak in Shenzhen, China; some of these sentences are especially haunting to read now: \u201cWhat terrified Fang Lin most when he was conscious was the sense that he was running out of air. No matter how freely he breathed, he felt that he was not inhaling oxygen but some other odorless, tasteless gas.\u201d<\/p>\n

Rounding out this selection is Sarah Manguso\u2019s essay \u201cOceans<\/a>,\u201d from the Spring 2019 issue; it\u2019s a series of fragmented meditations from the poet turned prose writer on the ocean, surgery, mortality, and the human body. You can also listen to Manguso read the essay<\/a> on the second season of The Paris Review Podcast<\/em>. And if you liked \u201cOceans,\u201d our latest issue features another essay<\/a> by Manguso.<\/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":"

This week\u2019s Art of Distance highlights some of the boundary-pushing nonfiction that the \u2018Review\u2019 has published over its sixty-seven years.<\/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-145953","post","type-post","status-publish","format-standard","hentry","category-the-art-of-distance"],"acf":[],"yoast_head":"\nThe Art of Distance No. 16 by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week\u2019s Art of Distance highlights some of the boundary-pushing nonfiction that the \u2018Review\u2019 has published over its sixty-seven years.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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