{"id":153857,"date":"2021-08-03T13:00:35","date_gmt":"2021-08-03T17:00:35","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=153857"},"modified":"2021-08-03T13:30:30","modified_gmt":"2021-08-03T17:30:30","slug":"redux-the-runner-trying-to-disappear","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/08\/03\/redux-the-runner-trying-to-disappear\/","title":{"rendered":"Redux: The Runner Trying to Disappear"},"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>

The author at his jazz club, Peter Cat, in 1978.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re tuning in to the Olympics and thinking about feats of athleticism. Read on for Haruki Murakami\u2019s Art of Fiction interview<\/a>, Ottessa Moshfegh\u2019s short story \u201cThe Weirdos<\/a>,\u201d Gary Gildner\u2019s poem \u201cThe Runner<\/a>,\u201d and Leanne Shapton and Charlotte Strick\u2019s art portfolio \u201cSwimming Lessons<\/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,\u00a0choose our new summer bundle<\/a>\u00a0and purchase a year\u2019s worth of\u00a0The Paris Review<\/em>\u00a0and\u00a0The New York Review of Books<\/em>\u00a0for $99 (that\u2019s $50 in savings!).<\/p>\n

 <\/p>\n

Haruki Murakami, The Art of Fiction No. 182<\/a>
\nIssue no. 170 (Summer 2004)<\/em><\/p>\n

\n

INTERVIEWER<\/p>\n

How is your typical workday structured?<\/p>\n

MURAKAMI<\/p>\n

When I\u2019m in writing mode for a novel, I get up at four a.m. and work for five to six hours. In the afternoon, I run for ten kilometers or swim for fifteen hundred meters (or do both), then I read a bit and listen to some music. I go to bed at nine p.m. I keep to this routine every day without variation. The repetition itself becomes the important thing; it\u2019s a form of mesmerism. I mesmerize myself to reach a deeper state of mind. But to hold to such repetition for so long\u2014six months to a year\u2014requires a good amount of mental and physical strength. In that sense, writing a long novel is like survival training. Physical strength is as necessary as artistic sensitivity.<\/p><\/blockquote>\n

<\/p>\n

 <\/p>\n

\"\"<\/a>

Photo: Comitetul Olimpic si Sportiv Roman. Public domain, via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

The Weirdos<\/a>
\nBy Ottessa Moshfegh
\nIssue no. 206 (Fall 2013)<\/em><\/p>\n

He had a theory about how to stay in shape. It was to tense your body vigorously during everyday activities. He walked around with buttocks clenched, arms rigid, neck and face turning red. When I first moved in, he ran up the stairs with my suitcase, then stared down at me as though I would applaud. And once, when he saw me glance at his arm, he said, \u201cI\u2019m basically an Olympic athlete. I just don\u2019t like to compete.\u201d He had a crudely drawn tattoo of a salivating dog on his shoulder. Underneath it was written, COMIN\u2019 TO GETCHA!<\/small><\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Photo: National Media Museum, UK. Public domain, via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

The Runner<\/a>
\nBy Gary Gildner
\nIssue no. 58 (Summer 1974)<\/em><\/p>\n

Show the runner coming through the shadows,
\nshow him falling into a speckled rhythm,
\nand then show the full expression of light,
\nthere, where the trees quit and the road
\ngoes on alone, marked by the moon-glazed gravel<\/p>\n

Show the runner trying to disappear
\nwhere sky and road meet far in the distance,
\nshow him always a step too late,
\nshow a train going by hauling a long silence,
\nand show the runner leaving the road
\nwhere the killdeer starts from a charred stump \u2026<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

M\u00e1ria \u0160varbov\u00e1, Pool Only for Swimmers<\/em>, 2016, digitally manipulated color photograph, 19\u20094\/5\u2009 X 19\u20094\/5\u2009”.<\/p><\/div>\n

 <\/p>\n

Swimming Lessons<\/a>
\nBy Leanne Shapton & Charlotte Strick
\nIssue no. 217 (Summer 2016)<\/em><\/p>\n

When I was little, I would paint water as a low blue stripe along the bottom of the paper. Not much different from the sky\u2014a high blue stripe across the top. Maybe a darker blue. Then I learned how to swim and the waterline moved up, over my head. It became the whole page.<\/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\u00a0for $99 ($50 off the regular price!).<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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