{"id":157454,"date":"2022-03-08T12:50:31","date_gmt":"2022-03-08T17:50:31","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=157454"},"modified":"2022-03-11T12:51:25","modified_gmt":"2022-03-11T17:51:25","slug":"redux-of-continuous-change","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/08\/redux-of-continuous-change\/","title":{"rendered":"Redux: Of Continuous Change"},"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>

ELIAS KHOURY, IN 2007.<\/p><\/div>\n

Elias Khoury began his 2017\u00a0Art of Fiction<\/a>\u00a0interview with the wry observation that \u201cAmerican reviewers read Arabic literature as if they\u2019re reading the newspaper.\u201d This week, we\u2019re thinking\u2014as we stare, helpless and sore-eyed, at our feeds\u2014about the relationship between journalism and literature, and how artists, writers, and readers might respond to the news. Alongside Khoury\u2019s interview, we revisit a\u00a0short story<\/a>\u00a0by Stephen Minot, a Patricia Smith\u00a0poem<\/a>, and a\u00a0portfolio<\/a>\u00a0of works from Peter and Annette Nobel\u2019s collection of \u201cpress art.\u201d<\/p>\n

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

INTERVIEW
\nThe Art of Fiction No. 233<\/a>
\nElias Khoury<\/em><\/p>\n

INTERVIEWER<\/p>\n

How do you continue to write novels when every day seems to bring news of some new atrocity or human calamity in your backyard?<\/p>\n

KHOURY<\/p>\n

I\u2019ve lived my life under a state of near permanent war. I was born in 1948 and have vivid memories of the \u201csmall\u201d civil war of 1958. The defeat of 1967 brought me to political consciousness. And I began writing novels during the first years of our major civil war. I try not to write about war, but to write from within it. One has to write through these calamities and atrocities. I think it\u2019s good practice\u2014for writing and for living\u2014but it isn\u2019t ever easy.<\/p>\n

From issue no. 220\u00a0(Spring 2017)<\/p>\n

<\/p>\n

\"\"<\/a>

YOUSHEN WANG, NEWSPAPER (WASHING SERIES)<\/em> (DETAIL), 1993\/2007, COLOR PHOTOGRAPH AND WATER, 46 \u00bd” X 30 \u2154”.<\/p><\/div>\n

PROSE
\nReading the News\u2014Keeping Informed<\/a>
\nStephen Minot<\/em><\/p>\n

We vary in our sources, but we all keep up on current events. That\u2019s something we share. We and our wives are conversant with every major development. We read and we discuss. We vary in our political persuasions just as we do in taste\u2014some cautious, some tending toward the flamboyant, like reading the\u00a0Manchester Guardian<\/em>, overseas edition. But being informed is something we all share. It\u2019s a moral obligation with us.<\/p>\n

From issue no. 72 (Winter 1977)<\/p>\n

\"\"<\/a>

TOMI UNGERER, UNTITLED<\/em>, CA. 1960, NEWSPAPER, INK, AND GOUACHE ON PAPER, 12 \u215b” X 9 1\/16″.<\/p><\/div>\n

POETRY
\nAlways in the Head<\/a>
\nPatricia Smith<\/em><\/p>\n

There are times I hate being a reporter.
\nI am afraid of the stories.
\nThe voices are too real, the colors too strong.
\nI rewind the tape, open another computer file,
\nhear my son yell good-bye
\nand slam the door on his way out.
\nI run to the window. Yes, his head is covered.<\/p>\n

From issue no. 124\u00a0(Fall 1992)<\/p>\n

\"\"<\/a>

DANIELA KEISER, BOTANIK<\/em> (DETAILS), 2012, COLOR PHOTOGRAPH ON ALUMINUM, 7″ X 10 \u00bd”.<\/p><\/div>\n

ART
\nPress Art<\/a>
\nPeter Nobel<\/em><\/p>\n

The nineteenth century saw a number of artworks in which people read news\u00adpapers to themselves or, supposedly out loud, to a small audience, sometimes a family. Then the Cubists\u2014Picasso, Braque, Juan Gris\u2014started collaging daily newspapers into their works. These artists undertook a new style of painting, one that would explore synthetic abstraction and, equally, society\u2019s relationship with technology. They took the newspaper as an advanced technical means of modernity and an expression of continuous change: news of the day\u2014every day.<\/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

 <\/p>\n","protected":false},"excerpt":{"rendered":"

This week, we’ve lowered the paywall on Elias Khoury, Stephen Minot, Patricia Smith, and Peter Nobel.<\/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-157454","post","type-post","status-publish","format-standard","hentry","category-redux"],"acf":[],"yoast_head":"\nRedux: Of Continuous Change by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 8, 2022 \u2013 This week, we've lowered the paywall on Elias Khoury, Stephen Minot, Patricia Smith, and Peter Nobel.\" \/>\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\/03\/08\/redux-of-continuous-change\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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