{"id":167836,"date":"2024-06-18T10:36:13","date_gmt":"2024-06-18T14:36:13","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=167836"},"modified":"2024-06-18T10:36:29","modified_gmt":"2024-06-18T14:36:29","slug":"announcing-our-summer-issue-248","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2024\/06\/18\/announcing-our-summer-issue-248\/","title":{"rendered":"Announcing Our Summer Issue"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-167838\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/06\/248-1024x1024.png\" alt=\"\" width=\"1024\" height=\"1024\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/06\/248-1024x1024.png 1024w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/06\/248-300x300.png 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/06\/248-150x150.png 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/06\/248-768x768.png 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/06\/248-1536x1536.png 1536w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2024\/06\/248-2048x2048.png 2048w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/p>\n<p>As we were putting together this\u00a0<a href=\"https:\/\/www.theparisreview.org\/back-issues\/248?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/back-issues\/248?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw304Z_QonJGykYtc5321pWd\">Summer issue<\/a>\u00a0of the\u00a0<em>Review<\/em>, an editor in London sent me Saskia Vogel\u2019s new translation of a 1989 book by Peter Cornell, a Swedish historian and art critic.\u00a0<a href=\"https:\/\/www.theparisreview.org\/miscellaneous\/8310\/the-ways-of-paradise-selected-notes-from-a-lost-manuscript-peter-cornell?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/miscellaneous\/8310\/the-ways-of-paradise-selected-notes-from-a-lost-manuscript-peter-cornell?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw262J3-J8PsUZhk9CCapr6F\"><em>The Ways of Paradise<\/em><\/a>\u00a0is presented as notes to a scholarly manuscript; the author, Cornell tells us in an introduction, was \u201ca familiar figure at the National Library of Sweden,\u201d where for more than three decades he was \u201coccupied with an uncommonly comprehensive project, a work that\u2014as he once disclosed in confidence\u2014would reveal a chain of connections until then overlooked.\u201d After his death, the manuscript was never found. \u201cWhich is to say,\u201d Cornell writes, \u201call that remains of his great work is its critical apparatus.\u201d<\/p>\n<p>The footnotes that comprise\u00a0<a href=\"https:\/\/www.theparisreview.org\/miscellaneous\/8310\/the-ways-of-paradise-selected-notes-from-a-lost-manuscript-peter-cornell?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/miscellaneous\/8310\/the-ways-of-paradise-selected-notes-from-a-lost-manuscript-peter-cornell?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw262J3-J8PsUZhk9CCapr6F\"><em>The Ways of Paradise<\/em><\/a>\u00a0orbit certain preoccupations: the center of the world, labyrinths, fl\u00e2nerie, rock formations, Freudian repression, passwords, folds of fabric, aimlessness. As I followed the trails left behind by the mysterious man Cornell calls the author, I felt an emerging sense of relation between only tangentially related things. (I also felt a relief that the categories of \u201cFiction\u201d and \u201cNonfiction\u201d had already been banished from the\u00a0<em>Review<\/em>\u2019s table of contents in favor of the more-encompassing \u201cProse.\u201d)<\/p>\n<p><!--more--><\/p>\n<p>Taking note of connections, intended or not, is one of the pleasures of deep, patient reading\u2014which is to say, one of the pleasures of reading for pleasure.\u00a0And so I am always delighted when, despite our best efforts to avoid organizing an issue of the\u00a0<em>Review<\/em>\u00a0around a given idea or theme, a reader will point out that the most recent one was clearly all about\u00a0<em>this<\/em>\u00a0subject or was wrestling with\u00a0<em>that<\/em>\u00a0idea.<\/p>\n<p>Which makes the kind of letter I am now writing\u2014to announce our new\u00a0<a href=\"https:\/\/www.theparisreview.org\/back-issues\/248?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/back-issues\/248?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw304Z_QonJGykYtc5321pWd\">Summer issue<\/a>, out this week\u2014a conundrum. I could flag its seasonal topicality (\u201cThat summer we had decided we were past caring,\u201d Anne Serre writes in the issue\u2019s\u00a0<a href=\"https:\/\/www.theparisreview.org\/fiction\/8303\/that-summer-anne-serre?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/fiction\/8303\/that-summer-anne-serre?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw3lz59H37IngcYWIBRVSatv\">first story<\/a>. \u201cIt was just too tiring, rushing back and forth between mental institutions\u201d). Or I could, like a savvy host at a drinks party, point out possible conversation starters: works in translation, maybe. Or romance novels (\u201cI am a sucker for women carrying each other around,\u201d Renee Gladman writes in \u201c<a href=\"https:\/\/www.theparisreview.org\/fiction\/8307\/my-lesbian-novel-renee-gladman?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/fiction\/8307\/my-lesbian-novel-renee-gladman?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw0-BSUkI7Mt-Zyzr4fHesoD\">My Lesbian Novel<\/a>\u201d). Or the visionary (\u201cIt could be a dog crossing the street one morning with a string of wieners, which is something I\u2019ve always wanted to see,\u201d Mary Robison tells Rebecca Bengal in her\u00a0<a href=\"https:\/\/www.theparisreview.org\/interviews\/8311\/the-art-of-fiction-no-263-mary-robison?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/interviews\/8311\/the-art-of-fiction-no-263-mary-robison?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw2TSKqb6H1qmxv0zUXFKtOK\">Art of Fiction<\/a>\u00a0interview. \u201cThat\u2019s my golden dream\u201d).<\/p>\n<p>But most of the time when we read, we are enjoying something we can\u2019t necessarily name in advance. In\u00a0<em>Dreaming by the Book\u00a0<\/em>(1999), Elaine Scarry argues that when writers describe something, what they\u2019re really doing is instructing the reader in how to make mental images\u2014ones that appear \u201cnot just like a lazy daydream,\u201d Scarry explains to Margaret Ross in her\u00a0<a href=\"https:\/\/www.theparisreview.org\/interviews\/8312\/the-art-of-nonfiction-no-12-elaine-scarry?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/interviews\/8312\/the-art-of-nonfiction-no-12-elaine-scarry?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw3up5nnZ65O7vUHXI4e0NFk\">Art of Nonfiction<\/a>\u00a0interview, \u201cbut as an incredibly complex landscape of interactions.\u201d There is no replacement for this powerful exercise, she says: \u201cIf you really want to take down someone\u2019s, or a whole population\u2019s, ability to think, you must do it by shutting down their practice of the fictional as well as their practice of the factual.\u201d<\/p>\n<p>Consider this issue of the\u00a0<em>Review<\/em>, then, a chain of connections whose links are you, their reader. Soldiers, reportedly killed in combat, disembarking from a train in the eerie light of dawn, in a\u00a0<a href=\"https:\/\/www.theparisreview.org\/fiction\/8304\/passengers-on-the-night-train-rodolfo-enrique-fogwill\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/fiction\/8305\/passengers-on-the-night-train-rodolfo-enrique-fogwill?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw2bQyvMLahfz-iG9q8VQZvf\">story<\/a>\u00a0by the late Argentine author Rodolfo Enrique Fogwill, translated by Will Vanderhyden. Odysseus sitting on the rocks by the edge of the sea, grieving his homecoming, in Daniel Mendelsohn\u2019s new\u00a0<a href=\"https:\/\/www.theparisreview.org\/poetry\/8298\/-from-the-odyssey-book-five-homer?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/poetry\/8298\/-from-the-odyssey-book-five-homer?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw31PW8p3nIt9QpHgZd9L0Qu\">translation<\/a>\u00a0of\u00a0<em>The Odyssey<\/em>. Scarry\u00a0<a href=\"https:\/\/www.theparisreview.org\/interviews\/8312\/the-art-of-nonfiction-no-12-elaine-scarry?mc_cid=63132fb2be&amp;mc_eid=UNIQID\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.theparisreview.org\/interviews\/8312\/the-art-of-nonfiction-no-12-elaine-scarry?mc_cid%3D63132fb2be%26mc_eid%3DUNIQID&amp;source=gmail&amp;ust=1718806696295000&amp;usg=AOvVaw3up5nnZ65O7vUHXI4e0NFk\">recalling<\/a>\u00a0how, as a child on summer vacation, each day she would await her grandfather\u2019s return from the anthracite mines where he worked. \u201cI would trace his path in the dirt over and over,\u201d she says. \u201cI\u2019d think, Now he\u2019s coming out of the mines, now he\u2019s approaching me, when I look up he\u2019s going to be there. No, he\u2019s not there. He\u2019s coming out of the mines, he\u2019s approaching me. No, he\u2019s not there.\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>\u201cTaking note of connections, intended or not, is one of the pleasures of deep, patient reading\u2014which is to say, one of the pleasures of reading for pleasure.\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":[67827,68782,18308],"class_list":["post-167836","post","type-post","status-publish","format-standard","hentry","category-a-letter-from-the-editor","tag-featured","tag-issue-248","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 Summer Issue by Emily 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