{"id":146249,"date":"2020-07-20T13:00:37","date_gmt":"2020-07-20T17:00:37","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=146249"},"modified":"2020-07-20T13:09:14","modified_gmt":"2020-07-20T17:09:14","slug":"the-art-of-distance-no-18","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/07\/20\/the-art-of-distance-no-18\/","title":{"rendered":"The Art of Distance No. 18"},"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

\u201cRecord collectors love to spend long hours trawling through boxes and bins in pursuit of the rarity, the one-off, the perfect B side, but I think this same obsession with the archival can apply to literature lovers as well. There\u2019s a triumphant thrill to be found in this hunt for the unknown, and as someone who spends a lot of time sifting through the <\/em>Paris Review archive as part of my job, I\u2019ve been lucky enough to feel it often. Wait a minute, I realize, we have an Art of <\/em>that?! <\/em>Those writers took part in a roundtable in the eighties, the transcript of which was published in a back issue? Colleagues who\u2019ve received many a multi-exclamation-mark\u2019d message from me can attest\u2014there are some buried treasures to be unearthed on theparisreview.org! In that spirit, this week\u2019s Art of Distance lifts the paywall on a series of one-offs, rarities, and uncategorizable pieces from the <\/em>Paris Review archive. If you find yourself looking for something a little different to read, perhaps one of the following will be a welcome discovery.\u201d \u2014Rhian Sasseen, Engagement Editor<\/em><\/p>\n

 <\/p>\n

\"\"<\/a>

Truman Capote. Photo: Andy Warhol.<\/p><\/div>\n

 <\/p>\n

Although The Paris Review<\/em> is known for its Writers at Work interviews, if you read enough back issues you\u2019ll find that the magazine has also published a number of interviews that don\u2019t necessarily fit within the usual \u201cArt of \u2026\u2009\u201d rubric. There\u2019s the one and only Art of the Musical<\/a>, with Stephen Sondheim, from the Spring 1997 issue, for instance, or this \u201ccomposite interview<\/a>\u201d with Pablo Picasso from Summer\u2013Fall 1964. Or this Winter 2016 interview<\/a> with the critic Albert Murray (a close friend of Ralph Ellison\u2019s), who discusses the history of the Black American literary tradition. Or 1993\u2019s \u201cA Humorist at Work<\/a>,\u201d with Fran Lebowitz; I dare you to read it without laughing out loud. <\/p>\n

Art portfolios, too: if you\u2019d like to see Andy Warhol\u2019s party shots of William Burroughs, James Baldwin, Gore Vidal, Shirley MacLaine, Allen Ginsberg, and more, then you\u2019re in luck<\/a>. Or there\u2019s this selection of work<\/a> from the manga artist Yoshihiro Tatsumi, known for his antiheroes, in Spring 2006. Speaking of images\u2014poetry and art are generally kept somewhat separate in the Review<\/em>, but the Summer 2017 issue paired a selection of poetry from Jeffrey Yang with paintings by Kazumi Tanaka<\/a>. (Such collaborations have appeared in other issues, too, such as this one<\/a> from Peter Cole and Terry Winters.)<\/p>\n

Or how about a philosophical essay<\/a> by Simone Weil on the problem of religion, published in the second issue? If that doesn\u2019t sate your need to ponder existence, there are also these texts<\/a> by Flaubert, written on the occasion of two deaths in his life and appearing for the first time in English in the Summer 2007 issue. And here\u2019s something fun you probably hadn\u2019t thought to look for: a Trainspotting<\/em> glossary<\/a> from Irvine Welsh, published in Spring 1996.<\/p>\n

One of the wonderful things about little magazines like The Paris Review<\/em> is that they can so often be the site of the odd, the curious, and the unknown. Round out your journey with this essay<\/a> by George Wickes on the history of the little magazine and the birth of Modernism as we know it, published in Summer 1969.<\/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":"

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