{"id":151960,"date":"2021-04-13T15:34:27","date_gmt":"2021-04-13T19:34:27","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=151960"},"modified":"2021-04-13T15:49:36","modified_gmt":"2021-04-13T19:49:36","slug":"redux-come-be-my-camera","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/","title":{"rendered":"Redux: Come, Be My Camera"},"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>

Suzan-Lori Parks. Photo courtesy of Parks.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re thinking about writing for the screen and stage versus the page. Read on for Suzan-Lori Parks\u2019s Art of Theater interview<\/a>, James Salter\u2019s short story \u201cThe Cinema<\/a>,\u201d and Claribel Alegr\u00eda\u2019s poem \u201cDocumentary<\/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. Or,\u00a0subscribe to our new bundle<\/a>\u00a0and receive\u00a0Poets at Work<\/em>\u00a0for 25% off.<\/p>\n

 <\/p>\n

Suzan-Lori Parks, The Art of Theater No. 18<\/a>
\nIssue no. 235 (Winter 2020)<\/em><\/p>\n

I love the process of writing. Whether it\u2019s a TV script or a play, novel, song, or a film script, writing is all the same process. Just the rhythms are different. And where you have to begin and end is different. And how much you can see of a scene is different. What details you need to make a scene. In the novel, there are more words in those details. You can\u2019t just say, \u201cShe\u2019s tall and good looking.\u201d You\u2019ve got to let us know how so<\/em>! Give me specifics<\/em>. You\u2019ve got to let us know how good looking she is<\/em>.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: Bhuoc9. CC BY-SA 4.0, (https:\/\/creativecommons.org\/licenses\/by-sa\/4.0), via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

The Cinema<\/a>
\nBy James Salter
\nIssue no. 49 (Summer 1970)<\/em><\/p>\n

It was now Iles\u2019 turn, the time to expose his ideas. He plunged in. He was like a kind of crazy schoolmaster as he described the work, part Freud, part lovelorn columnist, tracing interior lines and motives deep as rivers. Members of the crew had sneaked in to stand near the door. Guivi jotted something in his script.<\/p>\n

\u201cYes, notes, make notes,\u201d Iles told him, \u201cI am saying some brilliant things.\u201d<\/p>\n

A performance was built up in layers, like a painting, that was his method, to start with this, add this, then this, and so forth. It expanded, became rich, developed depths and undercurrents. Then in the end they would cut it back, reduce it to half its size. That was what he meant by good acting.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Photo: Cquoi. CC BY-SA 4.0, (https:\/\/creativecommons.org\/licenses\/by-sa\/4.0), via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

Documentary<\/a>
\nBy Claribel Alegr\u00eda, translated by Darwin T Flakoll
\nIssue no. 108 (Fall 1988)<\/em><\/p>\n

Come, be my camera.
\nLet\u2019s photograph the ant heap
\nthe queen ant
\nextruding sacks of coffee,
\nmy country.
\nIt\u2019s the harvest.
\nFocus on the sleeping family
\ncluttering the ditch \u2026<\/p><\/blockquote>\n

 <\/p>\n

If you enjoyed the above, don\u2019t forget 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. Or,\u00a0subscribe to our new bundle<\/a>\u00a0and receive\u00a0<\/em>Poets at Work\u00a0for 25% off.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Suzan-Lori Parks\u2019s Art of Theater interview, a short story by James Salter, and a poem by Claribel Alegria.<\/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-151960","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Come, Be My Camera by The Paris Review<\/title>\n<meta name=\"description\" content=\"This week, we\u2019ve lowered the paywall on Suzan-Lori Parks\u2019s Art of Theater interview, a short story by James Salter, and a poem by Claribel Alegria.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Redux: Come, Be My Camera by The Paris Review\" \/>\n<meta property=\"og:description\" content=\"April 13, 2021 \u2013 This week, we\u2019ve lowered the paywall on Suzan-Lori Parks\u2019s Art of Theater interview, a short story by James Salter, and a poem by Claribel Alegria.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2021-04-13T19:34:27+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-04-13T19:49:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1000\" \/>\n\t<meta property=\"og:image:height\" content=\"667\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"The Paris Review\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"The Paris Review\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/\"},\"author\":{\"name\":\"The Paris Review\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\"},\"headline\":\"Redux: Come, Be My Camera\",\"datePublished\":\"2021-04-13T19:34:27+00:00\",\"dateModified\":\"2021-04-13T19:49:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/\"},\"wordCount\":534,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png\",\"articleSection\":[\"Redux\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/\",\"name\":\"Redux: Come, Be My Camera by The Paris Review\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png\",\"datePublished\":\"2021-04-13T19:34:27+00:00\",\"dateModified\":\"2021-04-13T19:49:36+00:00\",\"description\":\"This week, we\u2019ve lowered the paywall on Suzan-Lori Parks\u2019s Art of Theater interview, a short story by James Salter, and a poem by Claribel Alegria.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png\",\"width\":1000,\"height\":667,\"caption\":\"Suzan-Lori Parks. Photo courtesy of Parks.\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Redux: Come, Be My Camera\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e\",\"name\":\"The Paris Review\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g\",\"caption\":\"The Paris Review\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Redux: Come, Be My Camera by The Paris Review","description":"This week, we\u2019ve lowered the paywall on Suzan-Lori Parks\u2019s Art of Theater interview, a short story by James Salter, and a poem by Claribel Alegria.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/","og_locale":"en_US","og_type":"article","og_title":"Redux: Come, Be My Camera by The Paris Review","og_description":"April 13, 2021 \u2013 This week, we\u2019ve lowered the paywall on Suzan-Lori Parks\u2019s Art of Theater interview, a short story by James Salter, and a poem by Claribel Alegria.","og_url":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2021-04-13T19:34:27+00:00","article_modified_time":"2021-04-13T19:49:36+00:00","og_image":[{"width":1000,"height":667,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png","type":"image\/png"}],"author":"The Paris Review","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"The Paris Review","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/"},"author":{"name":"The Paris Review","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e"},"headline":"Redux: Come, Be My Camera","datePublished":"2021-04-13T19:34:27+00:00","dateModified":"2021-04-13T19:49:36+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/"},"wordCount":534,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png","articleSection":["Redux"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/","url":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/","name":"Redux: Come, Be My Camera by The Paris Review","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png","datePublished":"2021-04-13T19:34:27+00:00","dateModified":"2021-04-13T19:49:36+00:00","description":"This week, we\u2019ve lowered the paywall on Suzan-Lori Parks\u2019s Art of Theater interview, a short story by James Salter, and a poem by Claribel Alegria.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/04\/suzan-lori-parks.png","width":1000,"height":667,"caption":"Suzan-Lori Parks. Photo courtesy of Parks."},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/13\/redux-come-be-my-camera\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Redux: Come, Be My Camera"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4a14f739935c82f100675b84e220252e","name":"The Paris Review","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/c15ccd1e2629bc3b1a8aa1a407e1186742acfaf923abe2addfec0885197794ff?s=96&d=mm&r=g","caption":"The Paris Review"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/parisreview\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151960","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=151960"}],"version-history":[{"count":3,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151960\/revisions"}],"predecessor-version":[{"id":151966,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/151960\/revisions\/151966"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=151960"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=151960"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=151960"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}