{"id":167121,"date":"2024-03-19T11:15:14","date_gmt":"2024-03-19T15:15:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=167121"},"modified":"2024-06-18T10:39:09","modified_gmt":"2024-06-18T14:39:09","slug":"announcing-our-spring-issue-247","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/03\/19\/announcing-our-spring-issue-247\/","title":{"rendered":"Announcing Our Spring Issue"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-167122\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/782bd48e-153b-64b9-3331-edb8c5a698c6-1024x1024.jpg\" alt=\"\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/782bd48e-153b-64b9-3331-edb8c5a698c6-1024x1024.jpg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/782bd48e-153b-64b9-3331-edb8c5a698c6-300x300.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/782bd48e-153b-64b9-3331-edb8c5a698c6-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/782bd48e-153b-64b9-3331-edb8c5a698c6-768x768.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/782bd48e-153b-64b9-3331-edb8c5a698c6-1536x1536.jpg 1536w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/782bd48e-153b-64b9-3331-edb8c5a698c6-2048x2048.jpg 2048w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/p>\n<p style=\"font-weight: 400;\">Early in the new year, returning home from the office one evening, I picked up a story by the Argentine writer Samanta Schweblin, translated by Megan McDowell. The opening pages of \u201c<a href=\"https:\/\/www.theparisreview.org\/fiction\/8257\/an-eye-in-the-throat-samanta-schweblin\" target=\"_blank\" rel=\"noopener\">An Eye in the Throat<\/a>\u201d place us in the thrall of an escalating family emergency, one that might belong to a work of autofiction. But in time, the nature of the story\u2019s reality transforms. On finishing\u2014I had to unclench my jaw and pour myself a drink\u2014I realized that the narrative, like a tormenting Magic Eye, could be read in at least two distinct, and equally haunting, ways.<\/p>\n<p>Like Schweblin\u2019s story, several of the works in this issue seem to disclose, as if by optical illusion, a previously hidden plane of reality. Joy Williams gives us\u00a0<a href=\"https:\/\/www.theparisreview.org\/fiction\/8252\/concerning-the-future-of-souls-joy-williams\" target=\"_blank\" rel=\"noopener\">Azrael, the angel of death<\/a>, who mourns the limited possibilities for the transmigration of souls as a result of biodiversity loss. In \u201c<a href=\"https:\/\/www.theparisreview.org\/fiction\/8254\/derrida-in-lahore-julien-columeau\" target=\"_blank\" rel=\"noopener\">Derrida in Lahore<\/a>\u201d by the French-born writer Julien Columeau, translated from the Urdu by Sana R. Chaudhry, an aspiring scholar studying in Lahore, Pakistan, is introduced to Derrida\u2019s\u00a0<em>Glas<\/em>\u00a0(\u201cYou must read this,\u201d his professor tells him, \u201cit has fire inside it. Fire!\u201d) and becomes a deconstructionist zealot. And in Eliot Weinberger\u2019s \u201c<a href=\"https:\/\/www.theparisreview.org\/fiction\/8259\/the-ceaseless-murmuring-of-innumerable-bees-eliot-weinberger\" target=\"_blank\" rel=\"noopener\">The Ceaseless Murmuring of Innumerable Bees<\/a>,\u201d bees become variously the symbols of socialism and constitutional monarchy, good luck and witchcraft, war and peace, and much else besides.<\/p>\n<p><!--more--><\/p>\n<p>The subjects of our Writers at Work interviews, too, slip between worlds. Jhumpa Lahiri, in her\u00a0<a href=\"https:\/\/www.theparisreview.org\/interviews\/8262\/the-art-of-fiction-no-262-jhumpa-lahiri\" target=\"_blank\" rel=\"noopener\">Art of Fiction<\/a>\u00a0interview, describes \u201cthe woeful treadmill of needing approval\u201d that drove her, at the height of critical and commercial success, to leave her American life behind. \u201cIt\u2019s only when I\u2019m writing in Italian that I manage to turn off all those other, judgmental voices, except perhaps my own,\u201d she tells Francesco Pacifico, with whom, in Rome, she spoke in her new language. And in her\u00a0<a href=\"https:\/\/www.theparisreview.org\/interviews\/8263\/the-art-of-poetry-no-116-alice-notley\" target=\"_blank\" rel=\"noopener\">Art of Poetry<\/a>\u00a0interview, Alice Notley describes the need, in her work, to go beyond conscious thought and the \u201cscrounging\u201d of everyday life\u2014beyond, even, the grief of losing loved ones. \u201cYou might just freeze, but if you don\u2019t, other worlds open to you,\u201d she tells Hannah Zeavin, before adding, casually, \u201cI started hearing the dead, for example.\u201d<\/p>\n<p>Perhaps a kind of doubleness is fitting for the spring we\u2019re in: the season of hope, which is, this year as ever, filled with dread. When we asked the Swiss artist Nicolas Party to make an artwork for the cover of our new issue, he sent us not one image but two. Like in de Chirico\u2019s\u00a0<em>The Double Dream of Spring<\/em>, painted early in the First World War, each image exerts a kind of formal terror, at once seductive and monstrous. We decided that, for the first time in the magazine\u2019s seventy-one-year history, the issue would have twin covers. Subscribers will receive the cover featuring a\u00a0<a href=\"https:\/\/www.theparisreview.org\/art-photography\/8250\/issue-no-247-cover-subscriber-nicolas-party\" target=\"_blank\" rel=\"noopener\">still life<\/a>, an array of uncannily sagging apples and pears against rich blue. Buyers at newsstands and bookstores can pick up the version featuring a\u00a0<a href=\"https:\/\/www.theparisreview.org\/art-photography\/8251\/issue-no-247-cover-newsstand-nicolas-party\" target=\"_blank\" rel=\"noopener\">coastal landscape<\/a>, albeit one in which the ocean is green and the sky a candy pink. If you\u2019d prefer to alternate between realities, you can always have both.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-167123\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/2-1024x704.jpeg\" alt=\"\" width=\"1024\" height=\"704\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/2-1024x704.jpeg 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/2-300x206.jpeg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/2-768x528.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/2-1536x1056.jpeg 1536w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/03\/2-2048x1408.jpeg 2048w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/p>\n<p><em>Emily Stokes is the editor of<\/em> \u200aThe Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cPerhaps a kind of doubleness is fitting for the spring we\u2019re in.\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":[67827,68763,18308],"class_list":["post-167121","post","type-post","status-publish","format-standard","hentry","category-a-letter-from-the-editor","tag-featured","tag-issue-247","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 Spring Issue by Emily Stokes<\/title>\n<meta name=\"description\" content=\"March 19, 2024 \u2013 \u201cPerhaps a kind of doubleness is fitting for the spring we\u2019re in.\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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