{"id":161508,"date":"2022-09-07T12:16:14","date_gmt":"2022-09-07T16:16:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=161508"},"modified":"2022-09-07T14:34:39","modified_gmt":"2022-09-07T18:34:39","slug":"announcing-our-fall-issue","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/09\/07\/announcing-our-fall-issue\/","title":{"rendered":"Announcing Our Fall Issue"},"content":{"rendered":"

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

Several weeks ago, I received an email from a reader named Walter. He asked\u2014very politely (this Walter was Canadian)\u2014why it was that, as of issue no. 238, <\/span>The Paris Review<\/span><\/i> had decided to list both fiction and nonfiction in the magazine\u2019s table of contents simply under \u201cProse.\u201d You can read my attempt to answer his question <\/span>here<\/span><\/a>, but it strikes me now that you can also find a host of other responses, albeit oblique ones, in the pages of our <\/span>Fall issue<\/span><\/a>, out today<\/span>.\u00a0<\/span><\/i><\/p>\n

Take the Australian writer <\/span>Helen Garner<\/span><\/a>, who has been accused by more than one indignant reviewer of trying to pass off her personal diary as fiction, and whom Thessaly La Force interviewed over the course of several months this year. For a while, we agonized over how to categorize their conversation. Weren\u2019t Garner\u2019s enthralling, emotionally astute journalistic accounts of legal trials worthy of an Art of Nonfiction? Wouldn\u2019t her collected journals, which are as immersive as any novel, merit an Art of the Diary? In the end, we went for Art of Fiction, if only as a call to action for anyone who hasn\u2019t yet read <\/span>The Children\u2019s Bach. <\/span><\/i>(For me, <\/span>The Spare Room<\/span><\/i> comes in a close second.) Garner herself might well have made a different call: \u201cAll those comments I\u2019ve had to cop about my novels not being novels\u2014they rest on that idea that the novel is mightier than every other form,\u201d she tells La Force. \u201cMen tend to care more about those hierarchies than most women writers do.\u201d\u00a0<\/span><\/p>\n

<\/p>\n

The poet <\/span>Terrance Hayes<\/span><\/a>, interviewed elsewhere in the issue by Hilton Als, would prefer that MFAs be offered not in poetry, fiction, or nonfiction but simply in \u201ccreative writing.\u201d Still, he says, the very constraint of form can offer \u201ca way to get free.\u201d Rules are there to be broken, or at least bent. \u201cWriting sonnets meant that I could frame my panic and despair in love,\u201d he says. \u201cBox it.\u201d Boxes in the issue come in the forms of a <\/span>sestina<\/span><\/a> (by Natalie Eilbert), a <\/span>grace prayer<\/span><\/a> (by Kathleen Spivack), a <\/span>revolt<\/span><\/a> (by Stephen Ira), and a <\/span>pelt<\/span><\/a> (by Diane Seuss).\u00a0<\/span><\/p>\n

Walter, in his letter, interrogated his own desire to know, when reading a work of literature, <\/span>Was this ever true?<\/span><\/i> A piece of writing may of course be factually accurate (even indiscreet) and still, in essence, false, while the most formally traditional fiction can attain a kind of honesty that\u2019s rarely possible in everyday life. When I read Michelle de Kretser\u2019s short story \u201c<\/span>Winter Term<\/span><\/a>,\u201d I was reminded of Shirley Hazzard, a writer de Kretser loves, both by its emotional restraint and the force of its devastation. Meanwhile the voice of Sam Pink\u2019s brief, tripartite \u201c<\/span>Ceremony<\/span><\/a>\u201d affects the casual intimacy of a phone call, even as the author performs a kind of magic trick; by the end, you\u2019re not sure just how he\u2019s pulled it out of the bag, but that is definitely a rabbit.<\/span><\/p>\n

I first read Nancy Lemann\u2019s 1985 novel <\/span>Lives of the Saints<\/span><\/i> during an early pandemic lockdown, and swiftly became one of her (many and notoriously fervent) proselytizers. Her funny and poignant \u201c<\/span>Diary of Remorse<\/span><\/a>\u201d is told by a Lemann-like writer from New Orleans who documents her adventures as a courtroom observer alongside her attempts to locate the sources of her self-loathing. Meanwhile the narrator of Christian Kracht\u2019s \u201c<\/span>The Gold Coast<\/span><\/a>,\u201d who appears to share much of the author\u2019s biography, endures a visit to his difficult mother\u2014an alcoholic who recently spent her eightieth birthday on a locked psychiatric ward\u2014in part by picturing her as the Pucci-clad young woman he recalls from childhood summers by the pool in Saint-Jean-Cap-Ferrat.\u00a0<\/span><\/p>\n

Such pieces might be an exquisite kind of torment for a reader prone to wonder exactly how made-up a story is. Incidentally, when our fact-checkers sent Kracht a list of questions, he answered like a true novelist. (To the query \u201cOur checker wasn\u2019t quite sure which D\u00fcrrenmatt work was being alluded to in the Winterthur section,\u201d he responded, \u201cNeither is the narrator.\u201d) But he also offered us a photograph of his mother, lounging like some louche Swiss Gwyneth Paltrow, in her Pucci bikini.<\/span><\/p>\n

\"\"<\/a>

Photograph courtesy of Christian Kracht.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

\u201cA piece of writing may of course be factually accurate (even indiscreet) and still, in essence, false.\u201d<\/p>\n","protected":false},"author":309,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[26],"tags":[67827,18308,68455],"class_list":["post-161508","post","type-post","status-publish","format-standard","hentry","category-a-letter-from-the-editor","tag-featured","tag-issue-announcement","tag-letter-from-the-editor"],"acf":[],"yoast_head":"\nAnnouncing Our Fall Issue by Emily Stokes<\/title>\n<meta name=\"description\" content=\"September 7, 2022 \u2013 \u201cA piece of writing may of course be factually accurate (even indiscreet) and still, in essence, false.\u201d\" \/>\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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