{"id":174971,"date":"2026-09-09T12:00:14","date_gmt":"2026-09-09T16:00:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=174971"},"modified":"2026-09-09T12:52:08","modified_gmt":"2026-09-09T16:52:08","slug":"announcing-our-fall-issue-257","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2026\/09\/09\/announcing-our-fall-issue-257\/","title":{"rendered":"Announcing Our Fall Issue"},"content":{"rendered":"

\"\"<\/p>\n

There\u2019s a Russian phrase that translates as something like \u201ckitchen talk\u201d and refers to the kind of conversation that, in the postwar Soviet Union, could happen only around the kitchen table. Previously, apartments had been almost always communal, with stovetops shared by multiple households. Suddenly, in poky single-family khrushchevka<\/em>, a new social culture arose. In a steamy kitchen, you could share risky anecdotes, engage in political debates, and read from samizdat, especially if the tap was running and you put a pillow over the phone.<\/p>\n

The spirit of kitchen talk is still alive in the work of the Nobel Prize\u2013winning Belarusian author Svetlana Alexievich, the subject of The Paris Review<\/em>\u2019s inaugural Art of Oral History interview, which appears in our new Fall issue. (To mark the occasion, we have given the Russian version of the interview to our friends at Meduza<\/em><\/a>.) The sessions between Alexievich and her interviewer, the Russian investigative journalist Elena Kostyuchenko, who was not long ago pronounced a \u201cforeign agent\u201d by the Kremlin, took place in Alexievich\u2019s apartment in Berlin, where Alexievich has lived since she was forced to flee Minsk in 2020. Her books\u2014on the Second World War, Chernobyl, and the collapse of the Soviet Union\u2014are drawn from hundreds of interviews, mostly with strangers. The best conversations, she explains to Kostyuchenko, happen behind closed doors, without anyone present who might act as a social censor (Alexievich has harsh words for husbands), and unfurl slowly and intimately. \u201cJust like we\u2019re talking right now,\u201d she says.<\/p>\n

Alexievich\u2019s oral histories are sometimes likened to novels, which is most often meant as a compliment, although some critics have questioned her tendency to radically reshape the stories she is told\u2014occasionally even combining two speakers\u2019 narratives into a single testimony. \u201cIt\u2019s still nonfiction,\u201d she says. \u201cWhat\u2019s important is the precision of the impressions, the feelings, the sense of the era. A conversation can flow in any direction, just as how, in a book, you might approach a story from one angle or another.\u201d<\/p>\n

You may have read a novella by Ben Lerner in which a writer interviews his mentor for a literary journal and, in a state of anxiety, only pretends to be recording on his iPhone, which he has recently dropped into the sink. Lerner\u2019s plot might hinge on the mistaken assumption that editors of such a journal would not notice if sections of an interview were to be made up\u2014fiction!\u2014but what is true\u00a0is that the Review<\/em>\u2019s interviews are all inventions of a kind. We, like Alexievich, are partial to condensing hundreds of pages of transcripts into a couple of dozen and rearranging their component parts\u2014transcripts which, in the case of Alexievich and Kostyuchenko, included philosophical explorations into the nature of hatred and the differences between the sexes, punctuated by questions like \u201cWon\u2019t you have another cutlet?\u201d Or which, for Donald Antrim, the subject of The Art of Fiction No. 270, and his interviewer, Andrew O\u2019Hagan, sometimes resembled a psychoanalytic session in which parts of a life that might seem disconnected cohere in real time. \u201cYou just used the phrase \u2018when we were divorced,\u2019 \u201d O\u2019Hagan observes at one point, after Antrim recalls the breakup of his parents\u2019 marriage when he was a child. \u201cIs that how it felt to you?\u201d he asks. \u201cDid I really say that?\u201d Antrim replies. \u201cWell, there you go.\u201d<\/p>\n

As we put together an issue of the Review<\/em>, I often find that I am too much inside each piece to find a vantage from which to view the thing as a whole. Maybe, I tell myself, I\u2019ll be able to see it all more clearly in a few years, or a decade. But I did feel, as we worked on this one, that I was listening in on many voices whose speakers were attempting to locate themselves in what would become history before it hardened into narrative. Take Scott McClanahan\u2019s story of a car trip with his wife and children through a deadly flood in West Virginia. Or \u201cFisher of Men\u201d by the artist and writer Sam McKinniss, a portrait of a formative friendship set against the Iraq War and debates about the legalization of same-sex unions. Or \u201cTheir Utopia,\u201d a haunting debut by Brian Ma, narrated by a refugee of the Vietnam War who goes on to become an electrical engineer in America, developing one of the earliest car phones. As the story begins, he has taken a promotion at a cell phone factory in Vietnam, where he learns that the employees are committing suicide with disturbing regularity. \u201cI\u2019m not interested in events per se,\u201d Alexievich tells Kostyuchenko. \u201cI\u2019m interested in how people make sense of them.\u201d Of course, sometimes doing so is impossible, unbearable. \u201cDid you see aliens during the war?\u201d Ma\u2019s narrator is asked in a job interview. \u201cI\u2019m not sure,\u201d he says. \u201cThere was a lot going on.\u201d<\/p>\n

 <\/p>\n

Emily Stokes is the editor of<\/em> \u200aThe Paris Review.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cBut I did feel, as we worked on this one, that I was listening in on many voices whose speakers were attempting to locate themselves in what would become history before it hardened into narrative.\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":[67827,68922,18308,68455,426],"class_list":["post-174971","post","type-post","status-publish","format-standard","hentry","category-a-letter-from-the-editor","tag-featured","tag-issue-257","tag-issue-announcement","tag-letter-from-the-editor","tag-the-paris-review"],"acf":[],"yoast_head":"\nAnnouncing Our Fall Issue<\/title>\n<meta name=\"description\" content=\"September 9, 2026 \u2013 \u201cBut I did feel, as we worked on this one, that I was listening in on many voices whose speakers were attempting to locate themselves in what would become history before 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