{"id":155797,"date":"2021-11-16T11:24:53","date_gmt":"2021-11-16T16:24:53","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=155797"},"modified":"2021-11-16T12:12:42","modified_gmt":"2021-11-16T17:12:42","slug":"redux-backwards-and-upside-down","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/11\/16\/redux-backwards-and-upside-down\/","title":{"rendered":"Redux: Backwards and Upside Down"},"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>

BLAISE CENDRARS, CA. 1907, PHOTOGRAPH BY AUGUST MONBARON.<\/p><\/div>\n

This week at\u00a0The Paris Review<\/em>, we\u2019re looking in the mirror. Read on for Blaise Cendrars\u2019s\u00a0Art of Fiction interview<\/a>, Shruti Swami\u2019s short story \u201cA House Is a\u00a0Body<\/a>,\u201d Sharon Olds\u2019s poem \u201cI Cannot Forget the Woman in the Mirror<\/a>,\u201d and Melissa Febos\u2019s essay \u201cThe Mirror Test<\/a>,\u201d paired with\u00a0a selection of photographs<\/a>\u00a0by Francesca Woodman.<\/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

Interview<\/em>
\nBlaise Cendrars, The Art of Fiction No. 38<\/a>
\nIssue no. 37 (Spring 1966)<\/em><\/p>\n

A writer should never install himself before a panorama, however grandiose it may be. Like Saint Jerome, a writer should work in his cell. Turn the back. Writing is a view of the spirit. \u201cThe world is my representation.\u201d Humanity lives in its fiction. This is why a conqueror always wants to transform the face of the world into his image. Today, I even veil the mirrors.<\/p>\n

<\/p>\n

\"\"<\/a>

UNTITLED, 1975-6, BLACK-AND-WHITE PHOTOGRAPH, 4 \u00be” X 4 \u00be”.<\/p><\/div>\n

Fiction<\/em>
\nA House Is a Body<\/a>
\nBy Shruti Swamy
\nIssue no. 225 (Summer 2018)<\/em><\/p>\n

She stood in front of the mirror. He had changed her, she wanted to see it. Her features were the same, but they had a different meaning now, she looked older and sour, and she saw the lines on either side of her mouth and traced them with her finger. The lines of her mother, her mother\u2019s sourness. Oh God. And then she turned away from the mirror with a clenching, a balling up, for once her tears began to form she would not be able to stop them, for days she would live in a red and swollen mind, stuffed up as if by cold, eyes leaking in betrayal.<\/p>\n

\"\"<\/a>

SELF DECEIT #1, 1978, BLACK-AND-WHITE PHOTOGRAPH, 3 \u00bd” X 3\u00bd”. FROM THE SERIES \u201cSELF DECEIT,\u201d 1978.<\/p><\/div>\n

Poetry<\/em>
\nI Cannot Forget the Woman in the Mirror<\/a>
\nBy Sharon Olds
\nIssue no. 96 (Summer 1985)<\/em><\/p>\n

Backwards and upside down in the twilight, that
\nwoman on all fours, her head
\ndangling and suffused, her lean
\nhaunches, the area of darkness, the flanks and
\nass narrow and pale as a deer’s and those
\nbreasts hanging down toward the center of the earth like plummets, when I
\nswayed from side to side they swayed, it was
\nso dark I couldn\u2019t tell if they were gold or
\nplum or rose \u2026<\/p>\n

\"\"<\/a>

SELF DECEIT #2, 1978, BLACK-AND-WHITE PHOTOGRAPH, 3 \u00bd” X 3 \u215d”. FROM THE SERIES \u201cSELF DECEIT,\u201d 1978.<\/p><\/div>\n

Nonfiction<\/em>
\nThe Mirror Test<\/a>
\nBy Melissa Febos
\nIssue no. 235 (Winter 2020)<\/em><\/p>\n

Here\u2019s the thing: they were calling me a slut before they ever said the word, before I let any boy touch me. They saw the mark on me and though I didn\u2019t see it, I came to believe it was there. People can be mirrors, too. With hindsight, I understand the instinctive shame girls feel at this kind of treatment. The story of us has been revised to include the thing that warrants humiliation. Even when we know it\u2019s not true, or at least not right, a part of us believes it. We are not ashamed of being humiliated, but of what we have become. To tell my mother that they called me a slut would have been to reveal that I was one.<\/p>\n

\"\"<\/a>

SELF DECEIT #7, 1978, BLACK-AND-WHITE PHOTOGRAPH, 3 \u215d” X 3 \u215d”. FROM THE SERIES \u201cSELF DECEIT,\u201d 1978.<\/p><\/div>\n

Art<\/em>
\nFugitive Photographs<\/a>
\nBy Francesca Woodman
\nIssue no. 208 (Spring 2014)<\/em><\/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":"

We\u2019ve lowered the paywall on Blaise Cendrars\u2019s Art of Fiction interview, fiction by Shruti Swamy, poetry by Sharon Olds, an essay by Melissa Febos, and art by Francesca Woodman.<\/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-155797","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Backwards and Upside Down by The Paris Review<\/title>\n<meta name=\"description\" content=\"November 16, 2021 \u2013 We\u2019ve lowered the paywall on Blaise Cendrars\u2019s Art of Fiction interview, fiction by Shruti Swamy, poetry by Sharon Olds, an essay by Melissa Febos, and art by Francesca Woodman.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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