{"id":153522,"date":"2021-07-13T13:00:24","date_gmt":"2021-07-13T17:00:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=153522"},"modified":"2021-07-14T11:47:59","modified_gmt":"2021-07-14T15:47:59","slug":"redux-an-artist-who-in-dreams-followed","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/07\/13\/redux-an-artist-who-in-dreams-followed\/","title":{"rendered":"Redux: An Artist Who in Dreams Followed"},"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>

Hilton Als.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re commemorating another year of the best deal in town: our summer subscription offer<\/a> with The New York Review of Books<\/em>. For only $99, you\u2019ll receive yearlong subscriptions and complete archive access to both magazines\u2014a 34% savings!<\/p>\n

To celebrate, we\u2019re unlocking pieces from the archives of both The Paris Review<\/em> and The New York Review of Books<\/em>. Read on for Hilton Als\u2019s Art of the Essay interview<\/a>, paired with his essay \u201cMichael<\/a>\u201d; Fernanda Melchor\u2019s \u201cThey Called Her the Witch<\/a>,\u201d paired with Emmanuel Ord\u00f3\u00f1ez Angulo\u2019s review of the novel<\/a> from which it is excerpted, Hurricane Season<\/em>; and Adrienne Rich\u2019s poem \u201cArchitect<\/a>,\u201d alongside Mark Ford\u2019s essay on two recent collections<\/a> of Rich\u2019s poetry and essays.<\/p>\n

If you enjoy these free interviews, stories, poems, and works of criticism, why not subscribe<\/a> to both The Paris Review<\/em> and The New York Review of Books<\/em> and read both magazines\u2019 entire archives?<\/p>\n

 <\/p>\n

Hilton Als, The Art of the Essay No. 3<\/a>
\nThe Paris Review<\/em>, issue no. 225 (Summer 2018)<\/p>\n

For me, writing is a way of struggling through the intricacies of an anti\u00adempirical sensibility. And there must be words other than fiction<\/em> and nonfiction<\/em>. I see fiction not as the construction of an alternate world but as what your imagination gives you from the real world.<\/p><\/blockquote>\n

Michael<\/a>
\nBy Hilton Als
\nThe New York Review of Books<\/em>, August 13, 2009, issue<\/p>\n

James Baldwin did not live long enough to see Jackson self-destruct. And the most interesting aspect of his essay in light of Jackson\u2019s death is Baldwin\u2019s identification with Michael Jackson, another black boy who saw fame as power, and both did and did not get out of the ghetto he had been born into, or away from the father who became his greatest subject. But the differences are telling.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

They Called Her the Witch<\/a>
\nBy Fernanda Melchor, translated by Sophie Hughes
\nThe Paris Review<\/em>, issue no. 231 (Winter 2019)<\/p>\n

They called her the Witch, the same as her mother; the Girl Witch when she first started trading in curses and cures, and then, when she wound up alone, the year of the landslide, simply the Witch. If she\u2019d had another name, scrawled on some timeworn, worm-eaten piece of paper maybe, buried at the back of one of those wardrobes that the older crone crammed full of plastic bags and filthy rags, locks of hair, bones, rotten leftovers, if at some point she\u2019d been given a first name and last name like everyone else in town, well, no one had ever known it, not even the women who visited the house each Friday had ever heard her called anything else.<\/p><\/blockquote>\n

Deadly Myths<\/a>
\nBy Emmanuel Ord\u00f3\u00f1ez Angulo
\nThe New York Review of Books<\/em>, January 14, 2021, issue<\/p>\n

The novel\u2019s themes\u2014poverty (and all that comes with it: dire working conditions, educational deprivation), repressed sexuality, political corruption, and the opium of religion\u2014all point to its main subject, which is violence. But to list these as elements of a Mexican story is to assert a platitude, and Melchor\u2019s novel is not a catalog of the country\u2019s troubles. Hurricane Season<\/em> is, first and foremost, a horror story\u2014its horror coming from rather than contrasting with the lyricism of Melchor\u2019s prose.<\/p><\/blockquote>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a>

Adrienne Rich. Photo: Myriam Diaz-Diocaretz.<\/p><\/div>\n

 <\/p>\n

Architect<\/a>
\nBy Adrienne Rich
\nThe Paris Review<\/em>, issue no. 155 (Summer 2000)<\/p>\n

You could say he spread himself too thin\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0a plasterer’s
\nterm
\nyou could say he was then
\nskating thin ice\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0his stake in white colonnades against the
\nthinness of<\/p>\n

ice itself \u00a0 \u00a0 a slickened ground
\nCould say he did not then love
\nhis art enough to love anything more
\nCould say he wanted the commission so
\nbadly betrayed those who hired him\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0an artist
\nwho in dreams followed
\nthe crowds who followed him<\/p><\/blockquote>\n

\u2018Inventing New Ways to Be<\/a>\u2019
\nBy Mark Ford
\nThe New York Review of Books<\/em>, November 8, 2018, issue<\/p>\n

In the light of Rich\u2019s subsequent career, the terms that Auden used to praise her early work in his introduction to A Change of World<\/em> came to seem almost comically misguided: her poems, he suggests, are \u201cneatly and modestly dressed, speak quietly but do not mumble, respect their elders but are not cowed by them, and do not tell fibs.\u201d Yet Auden\u2019s somewhat patronizing pr\u00e9cis of the virtues of Rich\u2019s debut volume captures some of the cultural assumptions that initially shaped her, as both a poet and a person, and against which she would in time so spectacularly rebel.<\/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 summer bundle<\/a> and purchase a year\u2019s worth of <\/em>The Paris Review and <\/em>The New York Review of Books for $99 ($50 off the regular price!).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve unlocked pieces from the archives of \u2018The Paris Review\u2019 and \u2018The New York Review of Books\u2019 to celebrate our summer subscription bundle.<\/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-153522","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: An Artist Who in Dreams Followed by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 13, 2021 \u2013 This week, we\u2019ve unlocked pieces from the archives of \u2018The Paris Review\u2019 and \u2018The New York Review of Books\u2019 to celebrate our summer subscription bundle.\" \/>\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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