{"id":151330,"date":"2021-03-09T13:51:14","date_gmt":"2021-03-09T18:51:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=151330"},"modified":"2021-03-09T13:51:14","modified_gmt":"2021-03-09T18:51:14","slug":"redux-pulling-away-the-greenery","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/03\/09\/redux-pulling-away-the-greenery\/","title":{"rendered":"Redux: Pulling Away the Greenery"},"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>

Anne Carson.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re celebrating the launch of the Spring issue<\/a> by featuring a few contributors who have appeared in previous issues of the magazine. Read on for Anne Carson\u2019s Art of Poetry interview<\/a>, Allan Gurganus\u2019s short story \u201cArt History (From An Only Modestly Good Translation)<\/a>,\u201d and Forrest Gander\u2019s poem \u201cBody Visible<\/a>.\u201d<\/p>\n

If you enjoy these free interviews, stories, and poems, why not\u00a0subscribe<\/a>\u00a0to\u00a0The Paris Review<\/em>? You\u2019ll also get four new issues of the quarterly delivered straight to your door.<\/p>\n

 <\/p>\n

Anne Carson, The Art of Poetry No. 88<\/a>
\nIssue no. 171 (Fall 2004)<\/em><\/p>\n

One thing I do understand about the Greeks is that they, too, understood otherness and valued it. That is what the god Dionysus is as a principle\u2014the principle of being up against something so other that it bounces you out of yourself to a place where, nonetheless, you are still in yourself; there\u2019s a connection to yourself as another. It\u2019s what they call ecstasy<\/em>.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

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

 <\/p>\n

Art History (From An Only Modestly Good Translation)<\/a>
\nBy Allan Gurganus
\nIssue no. 85 (Fall 1982)<\/em><\/p>\n

In the shady northeast corner of the park, where vines have overcome the water fountains, and evergreens grow, rangy and unkempt as in the depths of Vronsky Forest, I came upon two children doing something very naughty. I had wandered to this most rustic corner of the Common seeking quietude and relief from the dogs recently permitted by a foolish ordinance to run free without leashes in the park. Their barking had annoyed me, a man of modest but fixed habits, and I strolled in this new direction.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Illustration: Christopher Dresser. Public domain, via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

Body Visible<\/a>
\nBy Forrest Gander
\nIssue no. 198 (Fall 2011)<\/em><\/p>\n

Then he deflowers her, pulling away the greenery.
\nThen a blue vein thinning into a hollow.
\nThen it is the hollow between her neck and lower jaw.
\nThen spaced ligaments twitching in his forearm.
\nThen connected in lightlessness, they are.
\nThen by an invisible capillary network \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-eight years\u2019 worth of archives. And join us on Thursday, March 11, for an evening of readings from the Spring issue<\/a>.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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