{"id":154455,"date":"2021-09-07T13:21:31","date_gmt":"2021-09-07T17:21:31","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=154455"},"modified":"2021-10-12T13:04:15","modified_gmt":"2021-10-12T17:04:15","slug":"redux-not-an-after-school-special","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/09\/07\/redux-not-an-after-school-special\/","title":{"rendered":"Redux: Not an After-School Special"},"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>

John McPhee, ca. 2009. Photograph courtesy of the Princeton University Office of Communications.<\/p><\/div>\n

This week at The Paris Review<\/em>, it\u2019s back to school. Read on for John McPhee\u2019s Art of Nonfiction interview<\/a>, Shanteka Sigers\u2019s short story \u201cA Way with Bea<\/a>,\u201d and Melanie Rehak\u2019s poem \u201cSelf-Portrait as the Liberal Arts<\/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.<\/p>\n

John McPhee, The Art of Nonfiction No. 3<\/a>
\nIssue no. 192 (Spring 2010)<\/em><\/p>\n

Writers develop slowly. That\u2019s what I want to say to you: don\u2019t look at my career through the wrong end of a telescope. This is terribly important to me as a teacher of writers, of kids who want to write.<\/p><\/blockquote>\n

<\/p>\n

\"\"<\/a>

Photo: Fortepan \/ Urb\u00e1n Tam\u00e1s. CC BY-SA 3.0 (https:\/\/creativecommons.org\/licenses\/by-sa\/3.0), via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

A Way with Bea<\/a>
\nBy Shanteka Sigers
\nIssue no. 234 (Fall 2020)<\/em><\/p>\n

The Teacher puts down her fork and stares at her husband. A worn white tablecloth edged in lace tries to put her in the spirit of their honeymoon. But it is hard to remember the man who grinned at her across lopsided wooden tables in tiny restaurants in the Caribbean while looking at him here with his mouth only half lifted in a smirk. She leans back, withdrawing from him. \u201cI am aware that teaching is not going to be like a made-for-TV movie or an after-school special, and fuck you,\u201d says the Teacher.<\/p><\/blockquote>\n

 <\/p>\n

\"\"<\/a>

Photo: Simon Bastien. Public domain, via Wikimedia Commons.<\/p><\/div>\n

 <\/p>\n

Self-Portrait as the Liberal Arts<\/a>
\nBy Melanie Rehak
\nIssue no. 165 (Spring 2003)<\/em><\/p>\n

The addition of solitude untrammeled,
\none and more and more but always
\nthe inner life astray,
\nthat equation incompatibly private.<\/p>\n

The errors unrepenting that will not
\ncome out right.<\/p>\n

Tautology, tautology. What I\u2019ve said
\nin argument cannot be taken away.
\nI\u2019ve emptied my pockets of change \u2026<\/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.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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