{"id":152231,"date":"2021-04-27T13:47:55","date_gmt":"2021-04-27T17:47:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=152231"},"modified":"2021-04-27T14:12:24","modified_gmt":"2021-04-27T18:12:24","slug":"redux-seventy-memories","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/04\/27\/redux-seventy-memories\/","title":{"rendered":"Redux: Seventy Memories"},"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>

Allen Ginsberg, ca. 1979. Photo: Michiel Hendryckx.<\/p><\/div>\n

This week at The Paris Review<\/em>, as National Poetry Month winds down, we\u2019re continuing to celebrate Poets at Work<\/em><\/a>, our latest anthology of interviews. Read on for work by three of the writers included in the book: Allen Ginsberg\u2019s Art of Poetry interview<\/a>, an excerpt<\/a> from Susan Howe\u2019s \u201cDefenestration of Prague,\u201d and Derek Walcott\u2019s poem \u201cThe Light of the World<\/a>.\u201d You can also read Paris Review<\/em> poetry editor Vijay Seshadri\u2019s introduction<\/a> on the Daily<\/em>.<\/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

Allen Ginsberg, The Art of Poetry No. 8<\/a>
\nIssue no. 37 (Spring 1966)<\/em><\/p>\n

You have many writers who have preconceived ideas about what literature is supposed to be, and their ideas seem to exclude that which makes them most charming in private conversation \u2026 And the hypocrisy of literature has been … you know like there\u2019s supposed to be formal literature, which is supposed to be different from\u2014in subject, in diction and even in organization, from our quotidian inspired lives.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: Avinash Bhat. CC BY-SA 2.0 (https:\/\/creativecommons.org\/licenses\/by-sa\/2.0), via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

from<\/em> Defenestration of Prague<\/a>
\nBy Susan Howe
\nIssue no. 86 (Winter 1982)<\/em><\/p>\n

Skeletal kin<\/p>\n

tilt
\nitalic lunacy<\/em><\/p>\n

long illness of little difference<\/p>\n

Seventy memories
\nmasks<\/p>\n

singing and piping
\nto be<\/p>\n

(half words)
\nbeginning and begetting \u2026<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

CC BY-SA 3.0 (https:\/\/creativecommons.org\/licenses\/by-sa\/3.0), via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

The Light of the World<\/a>
\nBy Derek Walcott
\nIssue no. 101 (Winter 1986)<\/em><\/p>\n

Marley was rocking on the transport\u2019s stereo
\nand the beauty was humming the choruses quietly.
\nI could see where the lights on the planes of her cheek
\nstreaked and defined them, if this were a portrait
\nyou\u2019d leave the highlights for last, these lights
\nsilkened her black skin, I\u2019d have put in an earring,
\nsomething simple, in good gold, for contrast, but she
\nwore no jewelry \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":"

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