{"id":166213,"date":"2023-12-05T12:46:52","date_gmt":"2023-12-05T17:46:52","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=166213"},"modified":"2023-12-05T12:46:52","modified_gmt":"2023-12-05T17:46:52","slug":"announcing-our-winter-issue-3","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2023\/12\/05\/announcing-our-winter-issue-3\/","title":{"rendered":"Announcing Our Winter Issue"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-166214\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/12\/tpr-246-broadside-forweb-1-1024x763.png\" alt=\"\" width=\"1024\" height=\"763\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/12\/tpr-246-broadside-forweb-1-1024x763.png 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/12\/tpr-246-broadside-forweb-1-300x224.png 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/12\/tpr-246-broadside-forweb-1-768x572.png 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/12\/tpr-246-broadside-forweb-1-1536x1145.png 1536w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2023\/12\/tpr-246-broadside-forweb-1-2048x1527.png 2048w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/p>\n<p style=\"font-weight: 400;\">A poet recently sent me an essay by George Oppen called \u201cThe Mind\u2019s Own Place,\u201d published in 1963. In it, Oppen grapples with lines from Brecht\u2019s \u201cTo Those Born Later\u201d: \u201cWhat kind of times are these, when \/ To talk about trees is almost a crime \/ Because it implies silence about so many horrors?\u201d Oppen, a poet who had withdrawn from writing for nearly twenty-five years to pursue his political commitments, sees Brecht\u2019s concern as valid: \u201cThere are situations which cannot honorably be met by art, and surely no one need fiddle precisely at the moment that the house next door is burning.\u201d But he also acknowledges that there is \u201cno crisis in which political poets and orators may not speak of trees, though it is more common for them, in this symbolic usage, to speak of \u2018flowers,\u2019 \u201d which tend to \u201cstand for simple and undefined human happiness.\u201d He goes on:<\/p>\n<blockquote>\n<p style=\"font-weight: 400;\">Suffering can be recognized; to argue its definition is an evasion, a contemptible thing. But the good life, the thing wanted for itself, the aesthetic, will be defined outside of anybody\u2019s politics, or defined wrongly. William Stafford\u00a0ends a poem titled \u201cVocation\u201d (he is speaking of the poet\u2019s vocation) with the line: \u201cYour job is to find what the world is trying to be.\u201d And though it may be presumptuous in a man elected to nothing at all, the poet does undertake just about that, certainly nothing less, and the younger poets\u2019 judgment of society is, in the words of Robert Duncan, \u201cI mean, of course, that happiness itself is a forest in which we are bewildered, turn wild, or dwell like Robin Hood, outlawed and at home.\u201d<em>\u00a0<\/em><\/p>\n<\/blockquote>\n<p><!--more--><\/p>\n<p style=\"font-weight: 400;\">Usually, on the date that a new issue of\u00a0<em>The Paris Review<\/em>\u00a0lands in bookstores and on newsstands, you receive a letter much like this one, announcing it and advertising its wares. In these letters, I have made a habit of loosely tying one piece in the issue to another, suggesting that, while\u00a0<em>The Paris Review<\/em>\u00a0is almost never put together with a theme in mind, some concern might have unconsciously risen to the surface as the editors made their selections\u2014or even that these selections give a kind of animal unconscious to the magazine itself. This is not one of those letters, in part because it does not seem to me the time for any kind of argument about literature and why it might or might not be important. Also, as far as I can tell, the pieces in this issue share very little in common save their quality and perhaps the fact that they each represent, in some form, a quest to find out what the world is trying to be and what it is to live in it. In all this, I am grateful to our contributors, and to you, our readers, for accompanying them. As Louise Gl\u00fcck (1943\u20132023) tells Henri Cole in her\u00a0<a href=\"https:\/\/www.theparisreview.org\/interviews\/8035\/the-art-of-poetry-no-115-louise-gluck?mc_cid=b51d951fb6&amp;mc_eid=UNIQID\"><strong>Art of Poetry<\/strong><\/a>\u00a0interview in the new\u00a0<a href=\"https:\/\/www.theparisreview.org\/back-issues\/246?mc_cid=b51d951fb6&amp;mc_eid=UNIQID\"><strong>Winter issue<\/strong><\/a>, \u201cAnyone who writes is a seeker. You look at a blank page and you\u2019re seeking. That role is assigned to us and never removed.\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><em>Emily Stokes is the editor of<\/em> \u200aThe Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cThe pieces in this issue share very little in common save their quality and perhaps the fact that they each represent, in some form, a bewildered quest to find out what the world is trying to be.\u201d<\/p>\n","protected":false},"author":2291,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[26],"tags":[67827,18308],"class_list":["post-166213","post","type-post","status-publish","format-standard","hentry","category-a-letter-from-the-editor","tag-featured","tag-issue-announcement"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Announcing Our 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