{"id":156754,"date":"2022-01-18T05:00:02","date_gmt":"2022-01-18T10:00:02","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=156754"},"modified":"2022-01-18T11:40:04","modified_gmt":"2022-01-18T16:40:04","slug":"redux-conceptual-baggage","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/01\/18\/redux-conceptual-baggage\/","title":{"rendered":"Redux: Conceptual Baggage"},"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>

CHARLES JOHNSON IN HIS OFFICE, WITH HIS GRANDSON EMERY, 2016.<\/p><\/div>\n

\u201cThe question,\u201d writes Emmanuel Carr\u00e8re in \u201cExhaling<\/a>,\u201d a new piece of prose in our Winter issue, \u201cis whether there\u2019s an incompatibility, or even a contradiction, between the practice of meditation and my trade, which is to write.\u201d Carr\u00e8re isn\u2019t the first to explore meditation, and the tension between silence and setting down words, in\u00a0The Paris Review<\/em>. Read on for Charles Johnson\u2019s youthful experiments in meditation in his\u00a0Art of Fiction interview<\/a>, a lecture by a famous Buddhist in Danielle Dutton\u2019s short story \u201cSomehow<\/a>,\u201d a sudden interruption at a Buddhist monastery in Marilyn Chin\u2019s poem \u201cLantau<\/a>,\u201d and a return to mindfulness\u00a0as you focus on\u00a0Jacques H\u00e9rold\u2019s\u00a0portfolio<\/a>\u00a0of pen and ink drawings.<\/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>
\nCharles Johnson, The Art of Fiction No. 239<\/a>
\nIssue no. 224 (Spring 2018)<\/em><\/p>\n

Let\u2019s start with the fact that fuzzy-bunny Buddhism doesn\u2019t often talk about what it\u2019s all really about\u2014that it\u2019s a preparation for death. Buddhism begins with that young prince leading his sheltered life and seeing the four signs. He sees an old man, he sees a sick man, he sees a dead man, and he sees a holy man. And he realizes unequivocally, categorically, That\u2019s me. I\u2019m going to get old, I\u2019m going to get sick, and I\u2019m going to die. So how do I deal with this? Buddhism is about letting go of a lot of conceptual baggage, the stories we tell ourselves about ourselves\u2014you let that go and there\u2019s a sense of liberation and clarity.<\/p>\n

<\/p>\n

\"\"<\/a><\/p>\n

Fiction<\/em>
\nSomehow<\/a>
\nBy Danielle Dutton
\nIssue no. 224 (Spring 2018)<\/em><\/p>\n

In one painting a woman serves a man a bowl of soup. Between his fingers are fingers, between his thighs her hand. Between his lips she sees his teeth as white as paper and remembers the famous Buddhist calling a sheet of paper the sun. A piece of paper is a cloud. It is the rain and the logger and the logger\u2019s mother, too. And if you look hard enough, you\u2019ll see yourself on the page\u2014tits heavy, fingers spread, waiting for something to happen. Isn\u2019t that what she\u2019d written? Isn\u2019t that what he\u2019d meant? Wait, stop. That was a different one. That was a different one. That was a whole other essay.<\/p>\n

\"\"<\/a><\/p>\n

Poetry<\/em>
\nLantau<\/a>
\nBy Marilyn Chin
\nIssue no. 182 (Fall 2007)<\/em><\/p>\n

While sitting prostrate before the ivory feet of the great Buddha, I spilled almost an entire can of Diet Coke on the floor. I quickly tried to mop up the mess with my long hair. I peeked over my left shoulder: the short nun said nothing and averted her eyes; to my right the skinny old monk was consumed by a frightful irritation of his own. He was at once swatting and dodging two bombarding hornets that were fascinated by his newly shaved head. \u201cI hope he\u2019s not allergic.\u201d I chuckled softly. And beyond us was the motherless Asian sea, glittering with the promise of eternity.<\/p>\n

\"\"<\/a><\/p>\n

Art<\/em>
\nPortfolio<\/a>
\nBy Jacques H\u00e9rold
\nIssue no. 26 (Summer-Fall 1961)<\/em><\/p>\n

In recent years, a kind of fermentation gradually permeates his work. The precise line has given way to broad strokes, the brush has taken over from the pen. It is like a passing from the mineral to the vegetable kingdom. The crystal turns into seed, and the seed germinates, swells, explodes, is lavished. Its encounter with a temperament keenly aware of purely pictorial categories space, light has led the fantastic image back to earth, and both are fecundated.<\/p>\n

 <\/p>\n

If you liked what you read here, don\u2019t forget to subscribe<\/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.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Jacques H\u00e9rold\u2019s 1961 art portfolio, Charles Johnson\u2019s Art of Fiction interview, and more!<\/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-156754","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Conceptual Baggage by The Paris Review<\/title>\n<meta name=\"description\" content=\"January 18, 2022 \u2013 This week, we\u2019ve lowered the paywall on Jacques H\u00e9rold\u2019s 1961 art portfolio, Charles Johnson\u2019s Art of Fiction interview, and more!\" \/>\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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