{"id":149934,"date":"2020-12-15T13:01:33","date_gmt":"2020-12-15T18:01:33","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=149934"},"modified":"2020-12-15T13:30:59","modified_gmt":"2020-12-15T18:30:59","slug":"redux-morning-full-of-voices","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/12\/15\/redux-morning-full-of-voices\/","title":{"rendered":"Redux: Morning Full of Voices"},"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>

Stephen Sondheim. Public domain, via Wikimedia Commons.<\/p><\/div>\n

This week, The Paris Review<\/em> is humming a little tune. Read on for Stephen Sondheim\u2019s Art of the Musical interview<\/a>, Sigrid Nunez\u2019s \u201cThe Blind<\/a>\u201d (the first chapter of her novel The Friend<\/em>), and Eamon Grennan\u2019s poem \u201cMusical Interlude<\/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

Stephen Sondheim, The Art of the Musical<\/a>
\nIssue no. 142, Spring 1997<\/em><\/p>\n

Some lyrics read well because they\u2019re conversational lyrics. Oscar\u2019s do not read very well because they\u2019re colloquial but not conversational. Without music, they sound simplistic and written<\/em>. Yet it\u2019s precisely the hypersimplicity of the language that gives them such force. If you listen to \u201cWhat\u2019s the Use of Wond\u2019rin\u2019\u2009\u201d from Carousel<\/em>, you\u2019ll see what I mean.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: British Library. Public domain, via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

The Blind<\/a>
\nBy Sigrid Nunez
\nIssue no. 222, Fall 2017<\/em><\/p>\n

Last night, in the Union Square station, a man was playing \u201cLa vie en rose\u201d on a flute, molto giocoso. Lately I\u2019ve become vulnerable to earworms, and sure enough the song, in the flutist\u2019s peppy rendition, has been pestering me all day. They say the way to get rid of an earworm is to listen a couple of times to the whole song. I listen to the most famous version, by Edith Piaf of course, who wrote the lyrics and first performed the song in 1945. Now it\u2019s the Little Sparrow\u2019s strange, bleating, soul-of-France voice that won\u2019t stop.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Photo: British Library. Public domain, via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

Musical Interlude<\/a>
\nBy Eamon Grennan
\nIssue no. 154, Spring 2000<\/em><\/p>\n

Cragflower. Music of the sea.
\n…….<\/span>The flower still standing
\nin its tormented place.<\/p>\n

Morning full of voices. Mourning too.
\n…….<\/span>Mahalia singing On My Way<\/em>
\nand making it to Cay-nen Land<\/em>.<\/p>\n

On a rock, sit, listen to Bjorling
\n…….<\/span>sing Only a Rose<\/em>
\nover your friend\u2019s ashes \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><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Stephen Sondheim\u2019s Art of the Musical interview, fiction by Sigrid Nunez, and a poem by Eamon Grennan.<\/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-149934","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Morning Full of Voices by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, we\u2019ve lowered the paywall on Stephen Sondheim\u2019s Art of the Musical interview, fiction by Sigrid Nunez, and a poem by Eamon Grennan.\" \/>\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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