{"id":146797,"date":"2020-08-11T13:00:45","date_gmt":"2020-08-11T17:00:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=146797"},"modified":"2020-08-11T14:55:11","modified_gmt":"2020-08-11T18:55:11","slug":"redux-the-river-never-dwindled","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/08\/11\/redux-the-river-never-dwindled\/","title":{"rendered":"Redux: The River Never Dwindled"},"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>

James Baldwin in Hyde Park, London. Photo: Allan Warren.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re celebrating our ongoing summer subscription offer with The New York Review of Books<\/em>. For only $99, you\u2019ll receive a yearlong subscription and complete archive access to both magazines\u2014a 38% savings.<\/p>\n

To mark the occasion, we\u2019re unlocking pieces from the archives of both The Paris Review<\/em> and The New York Review of Books<\/em>. Read on for James Baldwin\u2019s Art of Fiction interview<\/a>, paired with his essay \u201cAn Open Letter to My Sister, Miss Angela Davis<\/a>\u201d; Joyce Carol Oates\u2019s short story \u201cHeat<\/a>,\u201d paired with her essay \u201cShirley Jackson in Love and Death<\/a>\u201d; and Elizabeth Bishop\u2019s Art of Poetry interview<\/a>, paired with two poems<\/a>.<\/p>\n

If you enjoy these free interviews, stories, and poems, why not\u00a0subscribe<\/a>\u00a0to both\u00a0The Paris Review<\/em>\u00a0and\u00a0The New York Review of Books<\/em>\u00a0and read their entire archives? And for as long as we\u2019re flattening the curve,\u00a0The Paris Review<\/em>\u00a0will be sending out a 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

James Baldwin, The Art of Fiction No. 78<\/a>
\nThe Paris Review, issue no. 91 (Spring 1984)<\/em><\/p>\n

Write. Find a way to keep alive and write. There is nothing else to say. If you are going to be a writer there is nothing I can say to stop you; if you\u2019re not going to be a writer nothing I can say will help you. What you really need at the beginning is somebody to let you know that the effort is real.<\/p><\/blockquote>\n

<\/p>\n

An Open Letter to My Sister, Miss Angela Davis<\/a>
\nBy James Baldwin
\nThe New York Review of Books, volume 15, no. 12 (January 7, 1971)<\/em><\/p>\n

One might have hoped that, by this hour, the very sight of chains on black flesh, or the very sight of chains, would be so intolerable a sight for the American people, and so unbearable a memory, that they would themselves spontaneously rise up and strike off the manacles. But, no, they appear to glory in their chains; now, more than ever, they appear to measure their safety in chains and corpses. And so, Newsweek<\/em>, civilized defender of the indefensible, attempts to drown you in a sea of crocodile tears (\u201cit remained to be seen what sort of personal liberation she had achieved\u201d) and puts you on its cover, chained.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Joyce Carol Oates. Photo: Dustin Cohen. Courtesy of Ecco Press.<\/p><\/div>\n

 <\/p>\n

Heat<\/a>
\nBy Joyce Carol Oates
\nThe Paris Review, issue no. 110 (Spring 1989)<\/em><\/p>\n

It was midsummer, the heat rippling above the macadam roads. Cicadas screaming out of the trees and the sky like pewter, glaring.<\/p>\n

The days were the same day, like the shallow mud-brown river moving always in the same direction but so slow you couldn\u2019t see it. Except for Sunday: church in the morning, then the fat Sunday newspaper, the color comics print on your fingers.<\/p><\/blockquote>\n

Shirley Jackson in Love & Death<\/a>
\nBy Joyce Carol Oates
\nThe New York Review of Books, volume 63, no. 16 (October 27, 2016)<\/em><\/p>\n

Characterized by the caprice and fatalism of fairy tales, the fiction of Shirley Jackson exerts a mordant, hypnotic spell. No matter how many times one has read \u201cThe Lottery,\u201d Jackson\u2019s most anthologized story and one of the classic works of American gothic literature, one is never quite prepared for its slow-gathering momentum, the way in which what appears initially to be random and casual is revealed to be as inevitable as water circling a drain. As the stark title \u201cThe Lottery\u201d suggests an impersonal phenomenon, the story\u2019s perspective is detached and reportorial; a kind of collective consciousness emerges from the inhabitants of a small unnamed New England\u2013seeming town that finds expression in tonally neutral commentary reminiscent of Kafka\u2019s \u201cIn the Penal Colony.\u201d<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Elizabeth Bishop. Photo: Alice Helen Methfessel. Courtesy of Frank Bidart.<\/p><\/div>\n

 <\/p>\n

Elizabeth Bishop, The Art of Poetry No. 27<\/a>
\nThe Paris Review, issue no. 80 (Summer 1981)<\/em><\/p>\n

I\u2019m not very fond of poetry readings. I\u2019d much rather read the book. I know I\u2019m wrong. I\u2019ve only been to a few poetry readings I could bear<\/em>. Of course, you\u2019re too young to have gone through the Dylan Thomas craze \u2026<\/p><\/blockquote>\n

Two Poems<\/a>
\nBy Elizabeth Bishop
\nThe New York Review of Books, volume 53, no. 5 (March 23, 2006)<\/em><\/p>\n

Whatever there was, or is, of love let it be obeyed:
\n\u2014so that the grandfather mightn\u2019t have been blinded,
\nthe river never dwindled to what it is now,
\nnor the leaning big willows above it been blighted,
\nnor its trout been fished out;
\nnor, by the naked boys, the swimming hole been abandoned,
\ndissolved, abandoned, its terra cottas and gilt \u2026<\/p><\/blockquote>\n

 <\/p>\n

If you like what you read,\u00a0subscribe<\/a>\u00a0to both\u00a0<\/em>The Paris Review\u00a0and\u00a0<\/em>The New York Review of Books\u00a0for just $99<\/em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on work by James Baldwin, Joyce Carol Oates, and Elizabeth Bishop.<\/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-146797","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: The River Never Dwindled by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, we\u2019ve lowered the paywall on work by James Baldwin, Joyce Carol Oates, and Elizabeth Bishop.\" \/>\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\/11\/redux-the-river-never-dwindled\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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