{"id":157900,"date":"2022-03-22T11:03:55","date_gmt":"2022-03-22T15:03:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=157900"},"modified":"2022-03-22T16:55:54","modified_gmt":"2022-03-22T20:55:54","slug":"redux-which-voice-is-mine","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/03\/22\/redux-which-voice-is-mine\/","title":{"rendered":"Redux: Which Voice Is Mine"},"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>

PHOTOGRAPH BY NANCY CRAMPTON.<\/p><\/div>\n

\u201cAmong the greatest pleasures of the\u00a0Review<\/em>\u2019s\u00a0Writers at Work<\/a>\u00a0series,\u201d as our editor, Emily Stokes, wrote this week in a note\u00a0introducing<\/a>\u00a0the Spring issue, \u201cis the opportunity to eavesdrop on a revered author speaking intimately.\u201d That sense that you\u2019re eavesdropping is likewise often crucial to literature\u2019s appeal. This week, we slip back into the archives to listen in on John Cheever\u2019s 1976\u00a0Art of Fiction<\/a> interview, in which he describes reading certain books as \u201cfinding myself at the receiving end of our most intimate and acute means of communication\u201d; reencounter the young amateur spies of Joy Williams\u2019s \u201cA Story About Friends<\/a>\u201d; tune in to Laurance Wieder\u2019s poem \u201cThe Seismographic Ear<\/a>\u201d; and rifle through Kathy Acker\u2019s\u00a0papers<\/a>.<\/p>\n

If you enjoyed these free interviews, stories, poems, and art portfolios,\u00a0why 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. 62<\/a>
\nJohn Cheever<\/em><\/p>\n

INTERVIEWER<\/p>\n

One almost has a feeling of eavesdropping on your family in that book.<\/p>\n

CHEEVER<\/p>\n

The\u00a0Chronicle<\/em>\u00a0was not published (and this was a consideration) until after my mother\u2019s death. An aunt (who does not appear in the book) said, \u201cI would never speak to him again if I didn\u2019t know him to be a split personality.\u201d<\/p>\n

From issue no. 67\u00a0(Fall 1976)<\/p>\n

<\/p>\n

\"\"<\/a>

NOTES FOUND IN HERMAN MELVILLE\u2019S WHITE JACKET; OR, THE WORLD IN A MAN-OF-WAR<\/em> (1956).<\/p><\/div>\n

PROSE
\nA Story About Friends<\/a>
\nJoy Williams<\/em><\/p>\n

Their schoolbooks lay open and unread, littered with particles of bread and nail trimmings. Every night that didn\u2019t bring a blizzard, they would spy on the chemistry teacher, for they were fourteen and could only infrequently distinguish what they did from what they merely dreamt about.<\/p>\n

From issue no. 57\u00a0(Spring 1974)<\/p>\n

\"\"<\/a>

NOTES FOUND IN HERMAN MELVILLE\u2019S WHITE JACKET; OR, THE WORLD IN A MAN-OF-WAR<\/em> (1956).<\/p><\/div>\n

POETRY
\nThe Seismographic Ear<\/a>
\nLaurance Wieder<\/em><\/p>\n

Sometimes I wonder which voice is mine, I hear
\nThe dust accumulating everywhere like dead snow
\nOn bleak eaves, fields, aluminum storm windows
\nIs also connotative, suggests words which float
\nFrom transmitter to receiver, from dusk to dark.<\/p>\n

From issue no. 44\u00a0(Fall 1968)<\/p>\n

\"\"<\/a>

NOTES WRITTEN IN JEAN GENET IN TANGIER<\/em> BY MOHAMED CHOUKRI (1975).<\/p><\/div>\n

ART
\nKathy Acker\u2019s Library<\/a>
\nJulian Brimmers<\/em><\/p>\n

A significant element of Acker\u2019s creative process was her personal library. She was an avid and active reader. She frequently marked passages that she later pirated for her own novels and traced illustrations that would appear in her works whenever writing alone was insufficient. Most important, she used margins, blank pages, and the empty spaces in front matter to formulate spontaneous ideas about her own art and (love) life\u2014a glimpse into the writer\u2019s mind at its most unfiltered.<\/p>\n

From issue no. 225\u00a0(Summer 2018)<\/p>\n

 <\/p>\n

If you enjoyed the above, don\u2019t forget to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-nine years\u2019 worth of archives.<\/p>\n

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

This week, we’ve lowered the paywall on John Cheever, Joy Williams, Laurance Wieder, and Kathy Acker.<\/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":[14917,1810,7285,7820,47755],"class_list":["post-157900","post","type-post","status-publish","format-standard","hentry","category-redux","tag-eavesdropping","tag-john-cheever","tag-joy-williams","tag-kathy-acker","tag-laurance-wieder"],"acf":[],"yoast_head":"\nRedux: Which Voice Is Mine by The Paris Review<\/title>\n<meta name=\"description\" content=\"March 22, 2022 \u2013 This week, we've lowered the paywall on John Cheever, Joy Williams, Laurance Wieder, and Kathy Acker.\" \/>\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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