{"id":146645,"date":"2020-08-03T14:03:41","date_gmt":"2020-08-03T18:03:41","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=146645"},"modified":"2020-08-03T14:03:41","modified_gmt":"2020-08-03T18:03:41","slug":"the-art-of-distance-no-20","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/08\/03\/the-art-of-distance-no-20\/","title":{"rendered":"The Art of Distance No. 20"},"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

\u201cMany summertime rituals have been iced this year in the name of health and safety, including those of Hollywood. No big summer blockbusters for 2020; big-ticket movies have been postponed or sent straight to streaming. And while there is more content to watch on our laptops now than at any time in human history, I miss the movies: the chance to spend a few hours in the cineplex\u2019s too-cold air conditioning, eating oversalted popcorn and watching something with a lot of explosions and\/or dinosaur attacks. That being said, maybe even more than mall multiplexes and The Lost World, I\u2019m missing my neighborhood theaters: I think it was at Village East\u2014formerly a Yiddish theater, now on the National Register of Historic Places\u2014that I saw my last film in theaters, a German epic inspired by the life of Gerhard Richter, Never Look Away. Little did I know those three-plus hours of huge cinematography, swelling music, and fraught, inspired narrative would have to last me awhile.\u00a0 \u00a0<\/em><\/p>\n

But! There is a bright side to this theater-free season: The Paris Review can take you to the movies, in some literary sense. Read on for unlocked fiction, poetry, and interviews that can transport you to the cineplex, and below, find details on our own streaming offering: Plimpton!, the documentary (a New York Times Critics\u2019 Pick) about the magazine\u2019s charismatic, intelligent, and always adventurous founder.\u201d \u2014Emily Nemens, Editor<\/em><\/p>\n

\"\"<\/a>


From The Virgin Suicides<\/em>. Photo: \u00a9 Paramount Classics \/ Courtesy Everett Collection<\/p><\/div>\n

There\u2019s some COVID<\/small>-appropriate hoarding in\u00a0Rachel Khong<\/strong>\u2019s \u201cThe Freshening<\/a>,\u201d but I highlight the story because the protagonist is also stuck at home, screening blockbusters in a suboptimal DIY cinema setup: \u201cI took the ancient VCR from my closet. I plugged the cords into the television set. I had only four VHS tapes in my possession, and those, of course, were\u00a0Superman<\/em>s\u00a0I<\/em>\u00a0through\u00a0IV<\/em>.\u201d<\/p>\n

The plot of\u00a0The Virgin Suicides<\/em><\/a>, the\u00a0Jeffrey Eugenides<\/strong>\u00a0short story that debuted in 1990 in\u00a0The Paris Review<\/em>, the subsequent novel, and the Sofia Coppola film, is summed up in the three-world title and summarily expanded in the story\u2019s first line: \u201cOn the morning the last Lisbon daughter took her turn at suicide\u2014it was Mary this time, and sleeping pills, like Therese\u2014the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope.\u201d Of course, the how and why is why we read, and from this early glimpse of Eugenides\u2019s first novel you can see a skilled storyteller recount the tragic tale of the Lisbon daughters with such empathy, wryness, and eye for detail that it nearly makes the camera redundant.<\/p>\n

Go behind the camera with\u00a0Claribel Alegr\u00eda<\/strong>\u00a0in her poem \u201cDocumentary<\/a>,\u201d translated from the Spanish. The poet calls the shots in an imagined documentary of her \u201cwounded country,\u201d and the reader views her shot list just as a camera might: \u201cA panorama of iguanas, \/ chickens, \/ strips of meat, \/ wicker baskets, \/ piles of nances, \/ nisperos, \/ oranges.\u201d<\/p>\n

Deborah Eisenberg<\/strong>\u2019s \u201cTaj Mahal<\/a>\u201d looks at the film business from another angle: the familial. The narrator is offloaded on his filmmaker father, Anton Pavlak: \u201cWhen I tell people that I was sent to stay with Pavlak during the heyday of his Hollywood period and I name some of the actresses who were likely to star in the breakfasts I had with him at his home, they look at me as if I\u2019d said that my mother used to send me out to play with lions and tigers.\u201d There are few felines here, but a good brunch scene\u2014another thing that feels of another era.<\/p>\n

The Paris Review<\/em>\u00a0has published a handful of Art of Screenwriting interviews, but in exploring that subcategory you might miss\u00a0David Mamet<\/strong>, the wearer of many hats, who discusses his jump to moviemaking in his\u00a0Art of Theater interview<\/a>. \u201cA lot of it, directing especially, is how many boxes are hidden in this drawing?\u201d<\/p>\n

And I\u2019ll close with a reminder that there is a silver lining to watching movies at home\u2014no annoying seatmates. As\u00a0Chase Twichell<\/strong>\u00a0reminds us in her poem \u201cBad Movie, Bad Audience<\/a>,\u201d sometimes that Chatty Cathy a few rows back can really be a drag.<\/p>\n

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

This week,\u00a0Paris Review<\/em>\u00a0readers have an exclusive opportunity to rent or purchase\u00a0Plimpton!<\/em><\/a>, the 2013 documentary about the founder and longtime editor of the\u00a0Review<\/em>, who was \u201cone of the great adventurers of the 20th century.\u201d The film was created by the team behind\u00a0The<\/em>\u00a0Paris Review<\/em>\u2019s\u00a0My First Time video series<\/a>, and it follows George Plimpton \u201con a lifelong journey akin to fictional characters such as Forrest Gump and Indiana Jones. He hung out with U.S. Presidents, played quarterback for the Detroit Lions, forced Willie Mays to pop out in Yankee Stadium … played goalie for the Boston Bruins, struck the triangle for the New York Philharmonic and acted alongside John Wayne, Warren Beatty and Matt Damon,\u201d all while editing the\u00a0Review<\/em>. May this film offer you some meaningful distraction and insight into the life of an iconic literary figure.\u00a0A portion of the proceeds from every digital rental goes to support\u00a0The Paris Review<\/em>, a 501(c)(3), so please consider watching early and often.<\/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, The Art of Distance goes to the movies. <\/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-146645","post","type-post","status-publish","format-standard","hentry","category-the-art-of-distance"],"acf":[],"yoast_head":"\nThe Art of Distance No. 20 by The Paris Review<\/title>\n<meta name=\"description\" content=\"August 3, 2020 \u2013 This week, The Art of Distance goes to the movies.\" \/>\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\/08\/03\/the-art-of-distance-no-20\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Art of 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