{"id":152912,"date":"2021-06-08T13:00:27","date_gmt":"2021-06-08T17:00:27","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=152912"},"modified":"2021-06-08T13:57:28","modified_gmt":"2021-06-08T17:57:28","slug":"redux-mother-for-whom-the-whole-sky","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/06\/08\/redux-mother-for-whom-the-whole-sky\/","title":{"rendered":"Redux: Mother for Whom the Whole Sky"},"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>

Vladimir Nabokov.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re celebrating the release of the Summer 2021 issue<\/a> and highlighting work by issue no. 237 contributors who have previously appeared in the Review<\/em>. Read Vladimir Nabokov\u2019s Art of Fiction interview<\/a>, Anuk Arudpragasam\u2019s short story \u201cLast Rites<\/a>,\u201d Kaveh Akbar\u2019s poem \u201cMothers I Once Was<\/a>,\u201d and Roz Chast\u2019s \u201cThe Art of Revelry<\/a>.\u201d<\/p>\n

If you enjoy these free interviews, stories, and poems, why not subscribe<\/a> to The Paris Review<\/em>? You\u2019ll also get four new issues of the quarterly delivered straight to your door. Or, choose our new bundle<\/a> and you\u2019ll also receive Poets at Work<\/em> for 25% off the cover price.<\/p>\n

 <\/p>\n

Vladimir Nabokov, The Art of Fiction No. 40<\/a>
\nIssue no. 41 (Summer\u2013Fall 1967)<\/em><\/p>\n

\n

INTERVIEWER<\/p>\n

Do you feel you have any conspicuous or secret flaw as a writer?<\/p>\n

NABOKOV<\/p>\n

The absence of a natural vocabulary. An odd thing to confess, but true. Of the two instruments in my possession, one\u2014my native tongue\u2014I can no longer use, and this not only because I lack a Russian audience, but also because the excitement of verbal adventure in the Russian medium has faded away gradually after I turned to English in 1940. My English, this second instrument I have always had, is however a stiffish, artificial thing, which may be all right for describing a sunset or an insect, but which cannot conceal poverty of syntax and paucity of domestic diction when I need the shortest road between warehouse and shop. An old Rolls-Royce is not always preferable to a plain jeep.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Last Rites<\/a>
\nBy Anuk Arudpragasam
\nIssue no. 230 (Fall 2019)<\/em><\/p>\n

It was a little past four in the afternoon, the light softer now and more diffuse, the intensity of the day\u2019s heat beginning to wane, and standing by himself in a corner of the garden Krishan was observing the people gathered in Rani\u2019s house for the funeral, somewhat unnerved, after his long and meditative journey, by how quickly he\u2019d found himself in this place so different from his point of origin, this setting that, despite conforming to all his abstract expectations, had nevertheless managed to catch him off guard.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

Mothers I Once Was<\/a>
\nBy Kaveh Akbar
\nIssue no. 228 (Spring 2019)<\/em><\/p>\n

Mother fingers in the mud. Mother begging bowl.
\nMother lace weaver drumming her web, babies
\neating her whole. Bleachable mother. Mother apron
\nsmeared with blood and flour. Mother flower. Mother Florida,<\/p>\n

the wet bone. The marble throne. Mother sent back.
\nMother bent back curling like script. Mother depended
\non light. Mother? Depends on the night.<\/p>\n

Mother for whom the whole sky \u2026<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a><\/p>\n

 <\/p>\n

The Art of Revelry<\/a>
\nBy Roz Chast
\nIssue no. 95 (Spring 1985)<\/em><\/p>\n

PROPOSAL: Marcel Proust shown dipping his madeleine cookie into his tea circa 1909, the famous mnemonic act which produced a rush of childhood memories culminating in the noted madeleine episode of Swann\u2019s Way<\/em> and providing the framework for Remembrance of Things Past<\/em>.<\/p>\n

REJECTED: Too obscure. Not enough action.<\/p><\/blockquote>\n

 <\/p>\n

If you enjoyed the above, don\u2019t forget to subscribe<\/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, choose our new bundle<\/a> and you\u2019ll also receive Poets at Work for 25% off the cover price.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

We\u2019ve lowered the paywall on Vladimir Nabokov\u2019s Art of Fiction interview, a story by Anuk Arudpragasam, a poem by Kaveh Akbar, and a piece by Roz Chast.<\/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-152912","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Mother for Whom the Whole Sky by The Paris Review<\/title>\n<meta name=\"description\" content=\"We\u2019ve lowered the paywall on Vladimir Nabokov\u2019s Art of Fiction interview, a story by Anuk Arudpragasam, a poem by Kaveh Akbar, and a piece by Roz Chast.\" \/>\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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