{"id":68517,"date":"2014-03-24T10:45:43","date_gmt":"2014-03-24T14:45:43","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=68517"},"modified":"2014-03-24T12:29:55","modified_gmt":"2014-03-24T16:29:55","slug":"take-a-mental-vacation-listen-to-travel-writers","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/03\/24\/take-a-mental-vacation-listen-to-travel-writers\/","title":{"rendered":"Take a Mental Vacation\u2014Listen to Travel Writers"},"content":{"rendered":"
\"Theroux<\/a>

Paul Theroux on a train, doing what he does.<\/p><\/div>\n

What do Paul Theroux, Ryszard Kapu\u015bci\u0144ski, Peter Matthiessen, and Jan Morris have in common? All four have advanced the art of travel writing, or writing that foregrounds a sense of place. And over the years, all four have been interviewed at 92Y\u2019s Unterberg Poetry Center<\/a>, where The Paris Review<\/i> has copresented an occasional series of live conversations with writers\u2014many of which have formed the foundations of interviews in the quarterly. Now, 92Y and The Paris Review<\/i> are making recordings of these interviews available at 92Y\u2019s Poetry Center Online<\/a> and here at\u00a0The Paris Review<\/a><\/i>.<\/p>\n

As yet another cold front shunts frigid air in our direction, it\u2019s especially nice to hear smart people talk of exotic climes and faraway places. So you can listen to Paul Theroux<\/a>, who spoke to our beloved founder, George Plimpton, in December 1989:<\/p>\n

\n

I came from, not a small town, but basically not a very interesting place. I felt that the world was elsewhere and that nothing was every going to happen to me, or that I wouldn\u2019t actually see anything, feel anything, any sense of romance or action, or that my imagination wouldn\u2019t catch fire until I left home. So it was very important for me not to rebel but simply to get away, to go away \u2026<\/p>\n<\/blockquote>\n

Or a conversation with Jan Morris<\/a>, who appeared at 92Y that October:<\/p>\n

\n

I resist the idea that travel writing has got to be factual. I believe in its imaginative qualities and its potential as art and literature. I must say that my campaign, which I\u2019ve been waging for ages now, has borne some fruit because intelligent bookshops nowadays do have a stack called something like travel literature. But what word does one use? \u2026 I think of myself more as a belletrist, an old-fashioned word. Essayist would do; people understand that more or less. But the thing is, my subject has been mostly concerned with place.<\/p>\n<\/blockquote>\n

Or Peter Matthiessen<\/a>, another cofounder of The Paris Review<\/i>, from 1997:<\/p>\n

\n

It\u2019s broad daylight, good visibility, yet mountains move. You perceive that the so-called permanence of the mountains is illusory, and that all phenomena are mere wisps of the cosmos, ever changing. It is its very evanescence that makes life beautiful, isn\u2019t that true? If we were doomed to live forever, we would scarcely be aware of the beauty around us \u2026<\/p>\n<\/blockquote>\n

Or Ryszard Kapu\u015bci\u0144ski<\/a>, from 1991:<\/p>\n

\n

If we write about human beings, in the most humanly way we are able to, I think everybody will understand us. I find humanity as one family. People really are very much the same in their reactions, in their feelings. I know the whole world. I can\u2019t find much difference in the way men react to others\u2019 unhappiness, disasters, tragedies, happiness. Writing for one man, you write for everybody.<\/p>\n<\/blockquote>\n

These recordings are the next best thing to a vacation. Their release is made possible by a generous gift in memory of Christopher Lightfoot Walker, who worked in the art department at The Paris Review<\/i> and volunteered as an archivist at 92Y\u2019s Poetry Center.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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