{"id":153934,"date":"2021-08-10T14:29:19","date_gmt":"2021-08-10T18:29:19","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=153934"},"modified":"2021-08-10T14:29:19","modified_gmt":"2021-08-10T18:29:19","slug":"redux-its-all-a-question-of-language","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/08\/10\/redux-its-all-a-question-of-language\/","title":{"rendered":"Redux: It\u2019s All a Question of Language"},"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>

Robert Lowell. Drawing by Hans Beck, 1961.<\/p><\/div>\n

This week at The Paris Review<\/em>, we\u2019re celebrating 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 give you a taste, we\u2019re unlocking pieces from the archives of both The Paris Review<\/em> and The New York Review of Books<\/em>. Read on for Robert Lowell\u2019s Art of Poetry interview<\/a>, paired with his letters to Elizabeth Bishop<\/a> concerning the founding of The New York Review of Books<\/em>; Ingeborg Bachmann\u2019s short story \u201cEverything<\/a>,\u201d paired with Merve Emre\u2019s essay<\/a> on Bachmann\u2019s novel Malina<\/em> and other fiction; and a portfolio of art<\/a> by Kara Walker, paired with an essay<\/a> by Zadie Smith on Walker\u2019s work through the years.<\/p>\n

If you enjoy these free interviews, stories, poems, and works of criticism, why not\u00a0subscribe<\/a> to\u00a0The Paris Review<\/em>\u00a0and\u00a0The New York Review of Books<\/em>\u00a0and read both magazines\u2019 entire archives?<\/p>\n

 <\/p>\n

Robert Lowell, The Art of Poetry No. 3<\/a>
\nThe Paris Review, issue no. 25 (Winter\u2013Spring 1961)<\/em><\/p>\n

The ideal modern form seems to be the novel and certain short stories. Maybe Tolstoy would be the perfect example\u2014his work is imagistic, it deals with all experience, and there seems to be no conflict of the form and content. So one thing is to get into poetry that kind of human richness in rather simple descriptive language. Then there\u2019s another side of poetry: compression, something highly rhythmical and perhaps wrenched into a small space. I\u2019ve always been fascinated by both these things.<\/p><\/blockquote>\n

<\/p>\n

Founding the New York Review: Two Letters from Robert Lowell to Elizabeth Bishop<\/a>
\nBy Robert Lowell
\nThe New York Review of Books, November 6, 2003, issue<\/em><\/p>\n

Here we are in the hectic whirl of putting out the new book review. I\u2019m very much a bystander and admirer. But Lizzie is furiously engaged and in a way making inspired use of her abilities\u2014for God knows we need a review that at least believes in standards and can intuit excellence.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Ingeborg Bachmann. Photo: Heinz Bachmann.<\/p><\/div>\n

 <\/p>\n

Everything<\/a>
\nBy Ingeborg Bachmann, translated by Eithne Wilkins & Ernst Kaiser
\nThe Paris Review, issue no. 28 (Summer\u2013Fall 1962)<\/em><\/p>\n

And suddenly I realized: it\u2019s all a question of language, and not merely of this particular language of ours, which was created with all the other languages at the Tower of Babel in order to bring confusion into the world. For under them all there\u2019s another language smouldering away, a language that extends into gestures and glances, into the evolving of thoughts and the ebb and flow of emotions, and it\u2019s here that all our griefs begin. It was all a question whether I could save the child from our language until he had founded a new one and could so begin a new era.<\/p><\/blockquote>\n

The Meticulous One<\/a>
\nBy Merve Emre
\nThe New York Review of Books, October 22, 2020, issue<\/em><\/p>\n

Today her novels remain unnerving for how desperately they struggle to give visible form to the invisible and private injustices perpetrated by men, to name them with the same certain horror that attends to accusations of fascism. Though no one pulls a trigger or slashes a knife or even lays hands on the women in her novels, Bachmann calls them \u201cvictims\u201d and describes the betrayals that preceded their deaths as \u201ccrimes.\u201d \u201cIt was murder,\u201d proclaims the last sentence of Malina<\/em>\u2014a murder for which no one will be held accountable because no one appears to have done anything wrong.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Kara Walker\u2019s interview at the Camden Arts Centre, London (8m44s). Interview by Anna McNay and filmed by Martin Kennedy. Image via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

Silhouettes<\/a>
\nBy Kara Walker
\nThe Paris Review, issue no. 153 (Winter 1999)<\/em><\/p>\n

 <\/p>\n

\"\"<\/a>

Kara Walker, Burn<\/em>, cut paper on canvas, 92 x 48″.<\/p><\/div>\n

 <\/p>\n

What Do We Want History to Do to Us?<\/a>
\nBy Zadie Smith
\nThe New York Review of Books, February 27, 2020, issue<\/em><\/p>\n

Walker\u2019s particular mode of engaging with our attention spans\u2014her visual and conceptual provocations\u2014have often caused furor, first from the generation above her, now not infrequently from the generation below. For when it comes to the ruins of history, Walker neither simply represents nor reclaims. Instead she eroticizes, aestheticizes, fetishizes, and dramatizes.<\/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":"

This week, we\u2019ve lowered the paywall on pieces from the archives of both \u2018The Paris Review\u2019 and \u2018The New York Review of Books.\u2019<\/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-153934","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: It\u2019s All a Question of Language by The Paris Review<\/title>\n<meta name=\"description\" content=\"August 10, 2021 \u2013 This week, we\u2019ve lowered the paywall on pieces from the archives of both \u2018The Paris Review\u2019 and \u2018The New York Review of Books.\u2019\" \/>\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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