{"id":150312,"date":"2021-01-12T13:00:11","date_gmt":"2021-01-12T18:00:11","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=150312"},"modified":"2021-01-11T16:27:02","modified_gmt":"2021-01-11T21:27:02","slug":"redux-then-i-turn-on-the-tv","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/01\/12\/redux-then-i-turn-on-the-tv\/","title":{"rendered":"Redux: Then I Turn On the TV"},"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>

Gabriel Garc\u00eda M\u00e1rquez.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re thinking about newspapers, newsprint, television sets, and media. Read on for Gabriel Garc\u00eda M\u00e1rquez\u2019s Art of Fiction interview<\/a>, Peter Mountford\u2019s short story \u201cPay Attention<\/a>,\u201d and Anne Waldman\u2019s poem \u201cHow to Write<\/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!).<\/p>\n

 <\/p>\n

Gabriel Garc\u00eda M\u00e1rquez, The Art of Fiction No. 69<\/a>
\nIssue no. 82 (Winter 1981)<\/em><\/p>\n

I\u2019ve always been convinced that my true profession is that of a journalist. What I didn\u2019t like about journalism before were the working conditions. Besides, I had to condition my thoughts and ideas to the interests of the newspaper. Now, after having worked as a novelist, and having achieved financial independence as a novelist, I can really choose the themes that interest me and correspond to my ideas. In any case, I always very much enjoy the chance of doing a great piece of journalism.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

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

 <\/p>\n

Pay Attention<\/a>
\nBy Peter Mountford
\nIssue no. 223 (Winter 2017)<\/em><\/p>\n

When she returns the following Tuesday, Bertram is watching CNN. There are two screens now: the one that\u2019s right in front of his face and the television that\u2019s been mounted on the wall all along. She sits and mutes the television. \u201cYou have more preloaded dialogue for me?\u201d<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

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

 <\/p>\n

How to Write<\/a>
\nBy Anne Waldman
\nIssue no. 45 (Winter 1968)<\/em><\/p>\n

Perhaps I\u2019m kidding myself about
\nthe life I lead<\/p>\n

Sometimes I feel I\u2019m dying
\nlike a lot of things I see around me<\/p>\n

Then I turn on the TV and understand
\nthat everything must still be moving<\/p>\n

Music, for example, and I rush outside
\naround the corner to a concert<\/p>\n

It\u2019s so easy<\/p>\n

Everything accessible from where I
\nhappen to live at the moment \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 archive, and our new\u00a0TriBeCa tote<\/a>\u00a0for only $69 (plus free shipping!).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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