{"id":157343,"date":"2022-03-01T12:03:45","date_gmt":"2022-03-01T17:03:45","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=157343"},"modified":"2022-03-01T16:40:34","modified_gmt":"2022-03-01T21:40:34","slug":"redux-be-my-camera","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/01\/redux-be-my-camera\/","title":{"rendered":"Redux: Be My Camera"},"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

When Edward Hirsch spoke to Susan Sontag, in between her trips to Sarajevo, for a 1995\u00a0Art of Fiction<\/a>\u00a0interview, he noted that her work seemed \u201chaunted by war.\u201d She said, \u201cI could answer that a writer is someone who pays attention to the world.\u201d This week, we\u2019re rereading a\u00a0poem<\/a>\u00a0by Claribel Alegria and a\u00a0story<\/a>\u00a0by Nadine Gordimer, looking back at a\u00a0portfolio<\/a>\u00a0of the writer\u00a0Ryszard Kapu\u015bci\u0144ski<\/a>\u2019s photographs, watching the news, and considering what it means to pay attention.<\/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
\nThe Art of Fiction No. 143<\/a>
\nSusan Sontag<\/em><\/p>\n

I suppose it could seem odd to travel to a war, and not just in one\u2019s imagination\u2014even if I do come from a family of travelers. My father, who was a fur trader in northern China, died there during the Japanese invasion\u2014I was five. I remember hearing about \u201cworld war\u201d in September 1939, entering elementary school, where my best friend in the class was a Spanish Civil War refugee. I remember panicking on December 7, 1941. And one of the first pieces of language I ever pondered over was \u201cfor the duration\u201d\u2014as in \u201cthere\u2019s no butter for the duration.\u201d I recall savoring the oddity, and the optimism, of that phrase.<\/p>\n

From issue no. 137\u00a0(Winter 1995)<\/p>\n

<\/p>\n

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

PROSE
\nFace from Atlantis<\/a>
\nNadine Gordimer<\/em><\/p>\n

A flashlight picture, taken in a night club. Stefan holds up a glass of champagne, resigned in his dinner suit, dignified in a silly paper cap. New Year\u2019s in Budapest, before Hitler, before the war. Can you imagine it? Eileen was fascinated by those photograph albums and those faces. Since she had met and married Waldeck in 1952, she had spent many hours looking at the albums. When she did so, a great yawning envy opened through her whole body. She was young, and the people pictured in those albums were all, even if they were alive, over forty by now. But that did not matter; that did not count. That world of the photograph albums was not lost only by those who had outgrown it into middle age. It was lost. Gone. It did not belong to a new youth. It was not hers, although she was young. It was no use being young, now, in the forties and fifties. She thought of the green albums as the record of an Atlantis.<\/p>\n

From issue no. 13\u00a0(Summer 1956)<\/p>\n

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

POETRY
\nDocumentary<\/a>
\nClaribel Alegria<\/em><\/p>\n

Come, be my camera.
\nLet\u2019s photograph the ant heap
\nthe queen ant
\nextruding sacks of coffee,
\nmy country.<\/p>\n

From issue no. 108\u00a0(Fall 1988)<\/p>\n

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

ART
\nRoadsides<\/a>
\nRyszard Kapu\u015bci\u0144ski<\/em><\/p>\n

From issue no. 180 (Spring 2007)<\/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’ve lowered the paywall on Susan Sontag, Nadine Gordimer, Claribel Alegria, and Ryszard Kapu\u015bci\u0144ski.<\/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":[22332,12331,31384,68361,501],"class_list":["post-157343","post","type-post","status-publish","format-standard","hentry","category-redux","tag-claribel-alegria","tag-nadine-gordimer","tag-redux","tag-ryzard-kapuscinski","tag-susan-sontag"],"acf":[],"yoast_head":"\nRedux: Be My Camera by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 1, 2022 \u2013 This week, we've lowered the paywall on Susan Sontag, Nadine Gordimer, Claribel Alegria, and Ryszard Kapu\u015bci\u0144ski.\" \/>\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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