{"id":149142,"date":"2020-11-17T13:00:11","date_gmt":"2020-11-17T18:00:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=149142"},"modified":"2020-11-17T14:56:51","modified_gmt":"2020-11-17T19:56:51","slug":"redux-you-would-if","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/11\/17\/redux-you-would-if\/","title":{"rendered":"Redux: You Would If"},"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

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\n
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Jos\u00e9 Saramago. Photo: Sampinz at Italian Wikipedia, CC BY-SA 4.0 (https:\/\/creativecommons.org\/licenses\/by-sa\/4.0), via Wikimedia Commons.<\/p><\/div>\n<\/div>\n<\/div>\n

This week, The Paris Review<\/em> is celebrating the birthdays of three different writers. Read on for Jos\u00e9 Saramago\u2019s Art of Fiction interview<\/a>, Isaac Bashevis Singer\u2019s short story \u201cThe Murderer<\/a>,\u201d and Margaret Atwood\u2019s poem \u201cFrogless<\/a>.\u201d<\/p>\n

If you enjoy these free interviews, stories, and poems, why not\u00a0subscribe<\/a>\u00a0to\u00a0The Paris Review<\/em>?\u00a0Or take advantage of our\u00a0new subscription bundle<\/a>, bringing you four issues of the print magazine, access to our full sixty-seven-year digital archive, and our new\u00a0TriBeCa tote<\/a>\u00a0for only $69 (plus free shipping!). And for as long as we\u2019re flattening the curve,\u00a0The Paris Review<\/em>\u00a0will be sending out a new 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

Jos\u00e9 Saramago, The Art of Fiction No. 155<\/a>
\nIssue no. 149, Winter 1998<\/em><\/p>\n

In the end, I am quite normal. I don\u2019t have odd habits. I don\u2019t dramatize. Above all, I do not romanticize the act of writing. I don\u2019t talk about the anguish I suffer in creating. I do not have a fear of the blank page, writer\u2019s block, all those things that we hear about writers. I don\u2019t have any of those problems, but I do have problems just like any other person doing any other type of work. Sometimes things do not come out as I want them to, or they don\u2019t come out at all. When things do not come out as well as I would have liked, I have to resign myself to accepting them as they are.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

The Murderer<\/a>
\nBy Isaac Bashevis Singer
\nIssue no. 228, Spring 2019<\/em><\/p>\n

They all knew him although no one in Ba\u0142t\u00f3w spoke to him and he spoke to no one. Maryan Skiba had served a prison term of eight years for killing his girlfriend, Zocha, because he caught her in bed with a city hall official. Maryan was a fisherman. After his release from the Lublin prison he returned to his former trade. There was a lake around Ba\u0142t\u00f3w that had carp, pike, and tench. It belonged to a nobleman who permitted the fishermen to fish there for a fee. All day Thursday, and Friday until noon, Maryan would stand in the marketplace beside his tub of live fish. It was impossible to haggle with him, as he had almost ceased speaking. He muttered the cost and no one could get another word out of him. His price was slightly lower than the other fishmongers\u2019 and he generally sold his catch. Sometimes when there were more fish than customers, the others lowered their prices, but not Maryan. It was said that he threw the unsold fish back into the water.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Frogless<\/a>
\nBy Margaret Atwood
\nIssue no. 117, Winter 1990<\/em><\/p>\n

The sore trees cast their leaves
\ntoo early. Each twig pinching
\nshut like a jabbed clam.
\nSoon there will be a hot gauze of snow
\nsearing the roots.<\/p>\n

Booze in the spring runoff,
\npure antifreeze;
\nthe stream worms drunk and burning.
\nTadpoles wrecked in the puddles.<\/p>\n

Here comes an eel with a dead eye
\ngrown from its cheek.
\nWould you cook it?
\nYou would if \u2026<\/p><\/blockquote>\n

 <\/p>\n

And to read more from the\u00a0<\/em>Paris Review\u00a0archives, make sure to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-seven years\u2019 worth of archives<\/em>. Or take advantage of our\u00a0new subscription bundle<\/a>, bringing you four issues of the print magazine, access to our full sixty-seven-year digital archive, and our new\u00a0TriBeCa tote<\/a>\u00a0for only $69 (plus free shipping!)<\/em>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Jos\u00e9 Saramago\u2019s Art of Fiction interview, a short story by Isaac Bashevis Singer, and a poem by Margaret Atwood.<\/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-149142","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: You Would If by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, we\u2019ve lowered the paywall on Jos\u00e9 Saramago\u2019s Art of Fiction interview, a short story by Isaac Bashevis Singer, and a poem by Margaret Atwood.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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