{"id":146949,"date":"2020-08-19T09:00:03","date_gmt":"2020-08-19T13:00:03","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=146949"},"modified":"2020-08-19T09:58:41","modified_gmt":"2020-08-19T13:58:41","slug":"a-story-in-one-picture-2","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/08\/19\/a-story-in-one-picture-2\/","title":{"rendered":"A Story in One Picture"},"content":{"rendered":"

To celebrate our Summer issue<\/a>, we asked each of the six featured fiction writers to share an image that evokes their story.<\/em><\/p>\n

\"\"<\/a>

Henry Ossawa Tanner, Portrait of Booker T. Washington<\/em>, 1917<\/p><\/div>\n

Tanner\u2019s striking use of color here evokes for me some of the mood of my story<\/span>, as does the depiction of Washington\u2019s eyes, which seem as haunting\u2014and haunted\u2014as I would imagine my narrator\u2019s eyes to be.<\/p>\n

\u2014Jamel Brinkley, \u201cWitness<\/a>\u201d<\/p>\n

<\/div>\n
\"\"<\/a>

Casey Hannan<\/a>, Pending in the Desert<\/em><\/p><\/div>\n

I love Casey Hannan\u2019s work. The colors and subject matter always feel playful, and yet there\u2019s something a little bit sinister lurking just beneath. In this painting, it\u2019s the tone more than the subject matter that I respond to: an off-kilter way of looking at the world. I\u2019d like to think that duality is reflected in my fiction, too: humor and longing, light and darkness\u2014a joke told in an empty room.<\/p>\n

\u2014Amy Silverberg, \u201cThe Duplex<\/a>\u201d<\/p>\n

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

This is a photo a friend took of me in high school. \u201cI Was a Public Schooler\u201d isn\u2019t really autobiographical, but I used some details from my experience to inspire the world of the character. I feel more like the person in this photo recently. My passion for my work is coming from my heart again, not from my brain. I wrote this story four years ago, when I was in my second year at a fellowship at Stanford, and very lonely and uptight and nervous about my future. I think of this as a story about not belonging, and not wanting to belong.<\/p>\n

\u2014Ottessa Moshfegh, \u201cI Was a Public Schooler<\/a>\u201d<\/p>\n

\"\"<\/a>

Enrico Rastelli<\/p><\/div>\n

I wrote a rough outline and a few sentences of \u201cThe Juggler\u2019s Wife\u201d while attending a talk on Walter Benjamin\u2019s The Storyteller Essays<\/i>, published by NYRB. At some point the panelists discussed Benjamin\u2019s piece that briefly refers to Enrico Rastelli (pictured), who was a real, celebrated juggler in the early twentieth century. Incidentally, I was also teaching Benjamin\u2019s \u201cOn the Concept of History\u201d in my composition class at the time. During the talk, I fell in love with the repetition of those words: the juggler, which for me soon became the juggler\u2019s wife, the juggler\u2019s son, the juggler\u2019s wife\u2019s boss \u2026<\/p>\n

 <\/p>\n

\u2014Emily Hunt Kivel, \u201cThe Juggler\u2019s Wife<\/a>\u201d<\/p>\n

<\/div>\n
\"\"<\/a>

Watercolor, Rae Buleri<\/p><\/div>\n

I was at an odd seaside motel in New Jersey with my wife, Rae Buleri. She was painting watercolors on the beach, I was sitting next to her, writing stories on my cell phone. She painted this house all lit up at sunset, the windows glowing gold, and I thought it looked like it was on fire. The painting blew me away, and I started writing a story<\/span> about a couple who burn their house down. Something about the neons Rae used had so much energy and joy. So I tried to make \u201cViolets\u201d have that same feeling. Also, of course, it\u2019s no mistake that the characters in the story<\/span> also decide to burn down a motel. All I had to do was look over the dune and there it was right behind us.<\/p>\n

\u2014Bud Smith, \u201cViolets<\/a>\u201d<\/p>\n

<\/div>\n
<\/div>\n

Keep exploring our Summer issue here.<\/a><\/em><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

To celebrate our Summer issue, we asked each of the six featured fiction writers to share an image that evokes their story.<\/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":[18642],"tags":[],"class_list":["post-146949","post","type-post","status-publish","format-standard","hentry","category-inside-the-issue"],"acf":[],"yoast_head":"\nA Story in One Picture by The Paris Review<\/title>\n<meta name=\"description\" content=\"August 19, 2020 \u2013 To celebrate our Summer issue, we asked each of the six featured fiction writers to share an image that evokes their story.\" \/>\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\/19\/a-story-in-one-picture-2\/\" \/>\n<meta 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