{"id":153737,"date":"2021-07-27T13:00:24","date_gmt":"2021-07-27T17:00:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=153737"},"modified":"2021-07-27T13:03:11","modified_gmt":"2021-07-27T17:03:11","slug":"redux-anyothertime-anyotherplace","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/07\/27\/redux-anyothertime-anyotherplace\/","title":{"rendered":"Redux: Anyothertime, Anyotherplace"},"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>

Kenzaburo Oe in 2002.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re redrafting, rewriting, and revising. Read on for Kenzaburo Oe\u2019s Art of Fiction interview<\/a>, Sigrid Nunez\u2019s \u201cThe Blind<\/a>,\u201d Aaron Bulman\u2019s poem \u201cThe Revision<\/a>,\u201d and Lydia Davis\u2019s essay \u201cRevising One Sentence<\/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 summer bundle<\/a> and purchase a year\u2019s worth of The Paris Review<\/em> and The New York Review of Books<\/em> for $99 (that\u2019s $50 in savings!).<\/p>\n

 <\/p>\n

Kenzaburo Oe, The Art of Fiction No. 195<\/a>
\nIssue no. 183 (Winter 2007)<\/em><\/p>\n

\n

INTERVIEWER<\/p>\n

Many writers are obsessive about working in solitude, but the narrators in your books\u2014who are writers\u2014write and read while lying on the couch in the living room. Do you work amid your family?<\/p>\n

OE<\/p>\n

I don\u2019t need to be solitary to work. When I am writing novels and reading, I do not need to separate myself or be away from my family. Usually I work in my living room while Hikari listens to music. I can work with Hikari and my wife present because I revise many times. The novel is always incomplete, and I know I will revise it completely. When I\u2019m writing the first draft I don\u2019t have to write it by myself. When I\u2019m revising, I already have a relationship with the text so I don\u2019t have to be alone.<\/p>\n

I have a study on the second floor, but it\u2019s rare that I work there. The only time I work in there is when I\u2019m finishing up a novel and need to concentrate\u2014which is a nuisance to others.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

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

 <\/p>\n

The Blind<\/a>
\nBy Sigrid Nunez
\nIssue no. 222 (Fall 2017)<\/em><\/p>\n

There are things I\u2019d like to know, too. For example, why, when these two girls want to talk, do they keep getting into their cars and driving to each other\u2019s houses? Why do they never use their phones, not even to text to find out first if the other one is home? Why do they not know things about each other that they could easily have learned from Facebook?<\/p>\n

It is one of the great bafflements of student fiction. I have read that college students can spend up to ten hours a day on social media. But for the people they write about, though also mostly college students, the Internet barely exists.<\/p>\n

\u201cCell phones do not belong in fiction,\u201d an editor once scolded in the margin of one of my manuscripts, and ever since\u2014more than two decades now\u2014I have wondered at the disconnect between tech-filled life and techless story.<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

The Revision<\/a>
\nBy Aaron Bulman
\nIssue no. 66 (Summer 1976)<\/em><\/p>\n

I still liked anyothertime,
\nanyotherplace. which means most
\nof my life, but it was now,
\nhere, so I felt my life becoming sad.
\nand I was thinking this
\ntoo shall pass into later.
\nsomewherelse. but I was getting sadder \u2026<\/p><\/blockquote>\n

 <\/p>\n

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

 <\/p>\n

Revising One Sentence<\/a>
\nBy Lydia Davis
\nIssue no. 229 (Summer 2019)<\/em><\/p>\n

I write it down and then immediately revise it. Today I revise this sentence immediately; sometimes I do and sometimes I don\u2019t. Maybe it depends on how interested I am in what I write down, or maybe I don\u2019t revise it if the writing is so simple or brief that it comes out exactly right the first time. Today it isn\u2019t quite right and I must be interested because I revise it: I want it to be exactly right. I will work on it until it is exactly right, whether or not the observation is important and whether or not I think I\u2019ll ever \u201cuse\u201d it.<\/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,\u00a0choose our new summer bundle<\/a>\u00a0and purchase a year\u2019s worth of\u00a0<\/em>The Paris Review\u00a0and\u00a0<\/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 lowered the paywall on Kenzaburo Oe\u2019s Art of Fiction interview, fiction by Sigrid Nunez, a poem by Aaron Bulman, and an essay by Lydia Davis.<\/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-153737","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Anyothertime, Anyotherplace by The Paris Review<\/title>\n<meta name=\"description\" content=\"July 27, 2021 \u2013 This week, we\u2019ve lowered the paywall on Kenzaburo Oe\u2019s Art of Fiction interview, fiction by Sigrid Nunez, a poem by Aaron Bulman, and an essay by Lydia Davis.\" \/>\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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