{"id":147914,"date":"2020-09-28T13:06:22","date_gmt":"2020-09-28T17:06:22","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=147914"},"modified":"2020-09-28T13:29:13","modified_gmt":"2020-09-28T17:29:13","slug":"the-art-of-distance-no-27","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/09\/28\/the-art-of-distance-no-27\/","title":{"rendered":"The Art of Distance No. 27"},"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

\u201cIn the before times, we\u2019d celebrate the arrival of the new issue <\/em>with a party at the office. I\u2019d greet attendees by shouting from atop the pool table (barefoot to protect the felt), and I\u2019d invite a contributor up to share the shortest of readings before the party got back underway. This past week, we gathered online instead of on Twenty-Seventh Street, and I (still barefoot) welcomed readers from my Alphabet City living room. Sure, I missed the mingling, the hugs and hellos, but at the same time I was grateful for the extra space and attention our new format offered, for both our writers and our readers: no one was shouting over bar sounds and, importantly, proximity to the A train wasn\u2019t requisite for attendance. And as I told that night\u2019s featured contributors\u2014Eloghosa Osunde (calling in from Nigeria), Emma Hine (reading from Denver), Rabih Alameddine (speaking to us from San Francisco), and Lydia Davis (reading from upstate New York)\u2014while it had been a joy to read (and edit) their pieces, I found it truly exceptional to hear those works read by their makers. <\/em>The office parties were known to get a bit crowded, but on Wednesday, the room was fuller than ever, with hundreds of attendees across several continents. If you weren\u2019t able to attend, have no fear: a recording of the program is available below, and we\u2019ve unlocked several pieces related to the event. Another thing I said Wednesday that is worth stating again and again as this new normal takes shape: it is a welcome relief and a small joy to know that while so much is in flux, there is still literature, and it is within our reach to celebrate that writing, to embrace existing traditions and to create new ones.\u201d <\/em>\u2014EN<\/em><\/p>\n

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

Read along while you watch the complete event on YouTube<\/a> now!<\/p>\n

Eloghosa Osunde\u2019s \u201cGood Boy<\/a>\u201d follows the journey of an unnamed protagonist as he builds a chosen family of queer friends in contemporary Nigeria. \u201cI believe that the world we live in was first made, right?\u201d Eloghosa says. \u201cA big part of imagining other ways to be starts with the imagination, starts with what we write, starts with story.\u201d <\/p>\n

Emma Hine\u2019s poems \u201cCassandra<\/a>\u201d and \u201cYoung Relics<\/a>\u201d are about families and homes. \u201cMy relationship with domestic spaces and objects is very talismanic,\u201d she explains. \u201cI have a lot of trouble separating the feeling of a memory from its location.\u201d<\/p>\n

Rabih Alameddine writes about Beirut and a family in crisis in \u201cThe July War<\/a>,\u201d a story he first drafted more than a decade ago, about the 2006 war in Lebanon. In discussing why he returned to the story this spring and why it felt relevant in 2020, he says: \u201cWhat it had, and what I hadn\u2019t concentrated on, was how people behave during crisis \u2026 how people react and behave when encountering sudden loss. How do we grieve? That story took on a new significance to me.\u201d<\/p>\n

Lydia Davis reads two stories, \u201cAn Incident on the Train<\/a>\u201d and \u201cThe Left Hand<\/a>.\u201d Listen to those, and then stick around for her conversation about cat literature.<\/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":"

Did you miss the virtual launch of the Fall issue this past Wednesday? Don\u2019t worry; we\u2019ve got you covered.<\/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-147914","post","type-post","status-publish","format-standard","hentry","category-the-art-of-distance"],"acf":[],"yoast_head":"\nThe Art of Distance No. 27 by The Paris Review<\/title>\n<meta name=\"description\" content=\"Did you miss the virtual launch of the Fall issue this past Wednesday? 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