{"id":157027,"date":"2022-02-08T11:12:16","date_gmt":"2022-02-08T16:12:16","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=157027"},"modified":"2022-02-08T12:09:22","modified_gmt":"2022-02-08T17:09:22","slug":"redux-an-ordinary-word","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/02\/08\/redux-an-ordinary-word\/","title":{"rendered":"Redux: An Ordinary Word"},"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><\/p>\n

The writer and translator Claudia Durastanti was born in the U.S. to Italian parents, both deaf, who never taught her to sign. She spent much of her young life shuttling between Brooklyn and Basilicata,\u00a0and between the two countries\u2019\u00a0native tongues. \u201cWhen I write in English,\u201d she\u00a0told<\/a>\u00a0the\u00a0Daily<\/em>\u00a0last week, \u201cI\u2019m making the reverse journey from the one I\u2019m used to\u2014English to Italian\u2014so I\u2019m obsessed with correctness. But then I don\u2019t think it\u2019s good writing. Usually, when you allow yourself impurities, the writing is actually stronger.\u201d\u00a0Read on for more from contributors to our archives who\u00a0have\u00a0journeyed between languages and nations:\u00a0Dany\u00a0Laferri\u00e8re\u2014the first Haitian and the first Quebecois\u00a0to join the\u00a0Acad\u00e9mie fran\u00e7aise\u2014on\u00a0the\u00a0nuances<\/a>\u00a0of the French dictionary; Beth Nguyen\u00a0on her\u00a0fractured relationship<\/a>\u00a0with her mother, who was left behind when the rest of the family immigrated to the U.S.; a\u00a0wry\u00a0poem<\/a>\u00a0by the hard-of-hearing, multilingual poet Ilya Kaminsky;\u00a0and the Iranian-born Swiss photographer Shirana Shahbazi\u2019s\u00a0portraits<\/a>\u00a0of\u00a0goftare nik<\/em>\u00a0(good words).<\/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>
\nDany<\/a>\u00a0Laferri\u00e8re, The Art of Fiction No. 237<\/a>
\nIssue no. 222\u00a0(Fall 2017)<\/em><\/p>\n

If a word that was used by Flaubert or C\u00e9saire falls into desuetude, if it becomes pass\u00e9, we still keep it in the dictionary because it was used by an important writer. The dictionary strives to recognize the creative usage of writers. Our commission not long ago tackled the word\u00a0sexe<\/em>. So we looked at how writers use a word like\u00a0sexe<\/em>\u2014all the different notions, phrases, and implications that have come up over the years. The Marquis de Sade doesn\u2019t have the same thoughts on the matter as, say, the Marquise de S\u00e9vign\u00e9. An ordinary word can take up half a page in the dictionary. A word like\u00a0sexe<\/em>\u00a0can run to six or seven pages.<\/p>\n

<\/p>\n

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

Nonfiction<\/em>
\nApparent<\/a>
\nBy Beth Nguyen
\nIssue no. 232 (Spring 2020)<\/em><\/p>\n

Over the course of my American life I have spent less than twenty-four hours with my mother. We have never spent more than an hour or two together at a time. If I see her it\u2019s only because I\u2019m in Boston for some other reason and I\u2019ll call my father so he can call her to arrange a visit. I need his easy Vietnamese to figure things out, to decide the time when I must show up at her apartment. And then she and I just sit there, maybe drink some tea, maybe talk about her pet cockatiels. I ask her questions she won\u2019t really answer.<\/p>\n

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

Poetry<\/em><\/span>
\nFrom<\/em> \u201cLast Will and Testament\u201d<\/a>
\nBy Ilya Kaminsky
\nIssue no. 227 (Winter 2018)<\/em><\/p>\n

Be careless, life!
\nWrap me in newspaper on a park bench
\nso some enterprising schoolchild
\ncan filch from my eyes
\ntwo dimes
\nand replace them with two U.S. postage stamps.<\/p>\n

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

Art<\/em><\/span>
\nGoftare Nik (Good Words)<\/a>
\nBy Shirana Shahbazi
\nIssue no. 172 (Winter 2004)<\/em><\/p>\n

 <\/p>\n

If you liked what you read here, 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":"

This week, we\u2019ve lowered the paywall on Dany\u00a0Laferri\u00e8re, Beth Nguyen, Ilya Kaminsky,\u00a0and Shirana Shahbazi.<\/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-157027","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: An Ordinary Word by The Paris Review<\/title>\n<meta name=\"description\" content=\"February 8, 2022 \u2013 This week, we\u2019ve lowered the paywall on Dany\u00a0Laferri\u00e8re, Beth Nguyen, Ilya Kaminsky,\u00a0and Shirana Shahbazi.\" \/>\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\/02\/08\/redux-an-ordinary-word\/\" \/>\n<meta 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