{"id":156546,"date":"2022-01-05T11:00:34","date_gmt":"2022-01-05T16:00:34","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=156546"},"modified":"2022-01-03T16:37:23","modified_gmt":"2022-01-03T21:37:23","slug":"redux-great-blinding-flashes","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/01\/05\/redux-great-blinding-flashes\/","title":{"rendered":"Redux: Great Blinding Flashes"},"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

\"\"

Photos courtesy of Killarnee, Wikimedia Commons<\/p><\/div>\n

It\u2019s the very first week of 2022, so you can probably guess the theme of this Redux. Whether you spent New Year’s Eve\u00a0setting off fireworks<\/a>\u00a0or having a road to Damascus moment, we hope you gave 2021 a good kick in the shins. Unlocked for you to read in these first days of the year: our\u00a0interview<\/a> with Octavio Paz, an excerpt from\u00a0Rachel Cusk\u2019s Transit<\/em><\/a>, a\u00a0poem<\/a> by Catherine Davis, and\u00a0party snapshots<\/a> by Andy Warhol.<\/p>\n

If you enjoy these free interviews, stories,\u00a0poems, and portfolios, why not\u00a0subscribe<\/a>\u00a0to\u00a0The Paris Review<\/em>? You\u2019ll\u00a0get four new issues of the quarterly delivered straight to your door.<\/p>\n

Interview<\/em>
\nOctavio Paz, The Art of Poetry No. 42<\/a>
\nIssue no. 119 (Summer 1991)<\/em><\/p>\n

I am very fond of fireworks. They were a part of my childhood. There was a part of the town where the artisans were all masters of the great art of fireworks. They were famous all over Mexico. To celebrate the feast of the Virgin of Guadalupe, other religious festivals, and at New Year’s, they made the fireworks for the town. I remember how they made the church fa\u00e7ade look like a fiery waterfall. It was marvelous. Mixoac was alive with a kind of life that doesn’t exist anymore in big cities.<\/p>\n

<\/p>\n

\"\"

Photos courtesy of Killarnee, Wikimedia Commons<\/p><\/div>\n

Fiction<\/em><\/span>
\nFreedom<\/a>
\nBy Rachel Cusk
\nIssue no. 217 (Summer 2016)<\/em><\/p>\n

\u201cWhat\u2019s it called,\u201d Dale said, \u201cwhen you have one of those bloody great blinding flashes of insight that changes the way you look at things?\u201d<\/p>\n

I said I wasn\u2019t sure: a few different words sprang to mind.<\/p>\n

Dale twitched his paintbrush irritably.<\/p>\n

\u201cIt\u2019s something to do with a road,\u201d he said.<\/p>\n

Road to Damascus, I said.<\/p>\n

\u201cI had a road to Damascus moment,\u201d he said. \u201cLast New Year\u2019s Eve, of all times. I bloody hate New Year\u2019s. That was part of it, realizing that I bloody hated New Year\u2019s Eve.\u201d<\/p>\n

\"\"

Photos courtesy of Killarnee, Wikimedia Commons<\/p><\/div>\n

Poetry<\/em><\/span>
\nThe New Year’s Burden<\/a>
\nBy Catherine Davis
\nIssue no. 21\u00a0(Spring-Summer 1959)<\/em><\/p>\n

I will not, though I would, resolve,
\nAs the New Year\u2019s Eve comes on,
\nTo do, not do, review, revolve
\nOn the past year, how it has gone,
\nTaking not all, but still enough
\n(Seeing I had not much to lose)
\nOf what, for all my falling off,
\nMight have been mine, as then, to use:
\nBut if I cast off heaviness,<\/span>
\nThis is my burden, none the less.<\/span><\/p>\n

\"\"

Photos courtesy of Killarnee, Wikimedia Commons<\/p><\/div>\n

Art<\/em><\/span>
\nA Warhol Portrait Gallery<\/a>
\nBy Andy Warhol
\nIssue no. 94 (Winter 1984)<\/em><\/p>\n

A while back, Andy Warhol\u2019s camera replaced his everpresent tape recorder. It was probably around the time he was going to nightclubs like Studio 54 every night; he couldn\u2019t have a conversation, let alone tape one, over all that music.<\/p>\n

If you enjoyed the above, don\u2019t forget to\u00a0subscribe<\/a>! In\u00a0addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-eight years\u2019 worth of archives.<\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Octavio Paz, Rachel Cusk, Catherine Davis, and Andy Warhol.<\/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-156546","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Great Blinding Flashes by The Paris Review<\/title>\n<meta name=\"description\" content=\"January 5, 2022 \u2013 This week, we\u2019ve lowered the paywall on Octavio Paz, Rachel Cusk, Catherine Davis, and Andy Warhol.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2022\/01\/05\/redux-great-blinding-flashes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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