{"id":161483,"date":"2022-09-06T17:46:57","date_gmt":"2022-09-06T21:46:57","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=161483"},"modified":"2022-09-07T10:23:55","modified_gmt":"2022-09-07T14:23:55","slug":"for-the-record-the-review-has-not-abolished-fiction","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/09\/06\/for-the-record-the-review-has-not-abolished-fiction\/","title":{"rendered":"For the Record, the Review<\/em> Has Not Abolished Fiction"},"content":{"rendered":"

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

Subject: Inquiry about a small change beginning with issue 238<\/span><\/i>\u00a0<\/span><\/i><\/p>\n

Dear Emily,<\/span><\/i><\/p>\n

Volume 238 dropped the fiction and nonfiction labels previously attached to prose pieces. I found no rationale for the decision in your editor\u2019s note to that edition, although your reference to \u201cfiction or nonfiction or something in between\u201d may be an allusion to an answer I am not sophisticated enough to understand. Why has <\/span><\/i>The Paris Review<\/span> dropped the fiction and nonfiction labels? Were the labels always included in past editions (I\u2019ve only been subscribing since 2019)? I ask because perhaps my need to categorize a piece of writing before I begin reading is telling of something about me that I\u2019ve never considered before. And granted some fiction is obviously so and could not be understood to be otherwise, but when I read on page 187 of your latest that \u201cIt\u2019s 4:38 P.M.<\/small>, eight minutes after I usually go home, but now I\u2019m rooting around under my chair cushion …\u201d I want to know, was this ever true?<\/span><\/i><\/p>\n

Thank you for your time,<\/span><\/i><\/p>\n

Walter<\/span><\/i>
\nYellowknife, NT<\/span><\/i>
\nCanada<\/span><\/i><\/p>\n

p.s. I love what you\u2019ve done with <\/span><\/i>The Paris Review<\/span> in terms of its physicality. The writing continues to awe (for example, the Sterling Holywhitemountain piece was brilliant).\u00a0<\/span><\/i><\/p>\n

Dear Walter,<\/span><\/p>\n

Thank you so much for your email, which is beautifully written and generous, and which also gave me the tiniest flash of dread. The decision to alter the table of contents was one we made a year ago, in the thick of redesigning the <\/span>Review<\/span><\/i> and putting together our first issue as a new editorial staff\u2014and I confess, I\u2019d been rather hoping we had gotten away with it. I\u2019ve even asked myself once or twice whether we were unduly influenced by the elegant, minimalist covers<\/a> of the seventies, from which we adapted our new tagline: \u201cProse Interviews Poetry Art.\u201d <\/span>(Catchier, we thought, than \u201cFiction Nonfiction Interviews Poetry Art,\u201d or \u201cFiction Nonfiction Drama Interviews Poetry Art\u201d \u2026) On balance, though, I\u2019m grateful for this opportunity to explain myself to you, and to anyone else who\u2019s been wondering what we\u2019re playing at.<\/span><\/p>\n

For the record, the <\/span>Review<\/span><\/i> has not abolished fiction. Nor do we doubt its existence: we still publish more of it than of anything else, and we care about it a great deal. And, of course, we work hard behind the scenes\u2014editing all our stories in conversation with their authors\u2014to ensure that each piece adheres to the rules that best serve the writer\u2019s intentions as well as the needs of readers. (We also fact-check everything we publish, including poetry, to differing levels of stringency\u2014a vital process that produces occasional moments of absurdity.) That kind of work would be indispensable regardless of the broad categories of fiction and nonfiction: different conventions apply to reportage than to memoir, for instance, or to letters and diaries, which might be filled with half truths no one would want to expunge.\u00a0<\/span><\/p>\n

Last year, we found ourselves discussing the effects\u2014some helpful, others less so\u2014of categorizing prose by its degree of veracity. After all, no equivalent warning labels are necessary in the case of \u201cPoetry\u201d (or \u201cArt,\u201d for that matter). A poem is defined primarily not by the accuracy of its contents but by its language and form. That\u2019s not to say that it\u2019s unimportant whether a poem is autobiographical, or responding to real events. But\u2014notwithstanding any hints a title or a dedication may offer\u2014readers must usually figure out a poem the old-fashioned way: by reading it.\u00a0<\/span><\/p>\n

Many publications have good reasons to prepare readers for what they are about to receive\u2014but the <\/span>Review<\/span><\/i> is not like most other publications. We are fortunate in not having to respond to the news or the debates of the day according to any prescribed formula, and that is a freedom we wanted to try extending to our readers. In cases where the absence of categories seems likely to sow unhelpful confusion, we will offer the reader a clue, in a subheading or an explanatory note (and online, too, for those who feel the urge to do some extra research)\u2014but we try not to dictate the terms of your encounter with a piece of writing in advance. Where possible, we\u2019d rather leave you alone, at least at first, with the consciousness you\u2019re meeting on the page. Reading is, in my own experience, one of the most intimate acts we have. And isn\u2019t real intimacy always a little destabilizing?<\/span><\/p>\n

At the risk of sounding like someone who never got over I. A. Richards, I believe that the writing we publish will teach its readers how to interpret it. The example you give\u2014\u201cLording<\/a><\/span>\u201d by Matthew Shen Goodman\u2014is a good one. The piece does have an almost documentary quality. By the end of that first page, the reader might even suspect the speaker of showing off\u2014of wearily dropping those \u201cPHQ-9s\u201d and \u201cLCSW\u201ds as evidence of his unrivaled access to the gritty world of a Brooklyn housing facility. Like you, I still wonder whether any of the events \u201cLording\u201d describes were ever true\u2014whether Goodman ever worked as a social worker, or whether he, like Elliot, had a friend whose story he decided to turn into a work of art. Knowing that \u201cLording\u201d is fiction hasn\u2019t helped me answer these questions, and grappling with them is part of what the story asks of me.<\/span><\/p>\n

Then there are certain pieces that particularly benefit from letting readers feel their own way through. I didn\u2019t know, on first reading a rough translation of Christian Kracht\u2019s <\/span>Eurotrash<\/span><\/i>, from which \u201cThe Gold Coast\u201d in our Fall issue (out tomorrow!) is adapted, whether it was fiction or memoir\u2014but by the time I had finished reading, I understood that its narrator was reveling in that ambiguity. The uncertainty sharpened my discomfort and enjoyment alike.<\/span><\/p>\n

I want to make it clear that this decision was and is an experiment; we hereby reserve the right to invent new categories of prose for future issues\u2014\u201cInaccurate Recollections,\u201d perhaps, or \u201cGhostwriting.\u201d Whatever label it may fall under, we aspire always to publish prose that rewards your closest attention.<\/span><\/p>\n

Emily Stokes<\/span>
\nEditor<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cI want to know, was this ever true?\u201d<\/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":[26],"tags":[68524,68455,17842],"class_list":["post-161483","post","type-post","status-publish","format-standard","hentry","category-a-letter-from-the-editor","tag-emily-stokes","tag-letter-from-the-editor","tag-prose"],"acf":[],"yoast_head":"\nFor the Record, the Review Has Not Abolished Fiction by The Paris Review<\/title>\n<meta name=\"description\" content=\"September 6, 2022 \u2013 \u201cI want to know, was this ever true?\u201d\" \/>\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\/09\/06\/for-the-record-the-review-has-not-abolished-fiction\/\" \/>\n<meta property=\"og:locale\" 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