{"id":86340,"date":"2015-06-03T19:21:14","date_gmt":"2015-06-03T23:21:14","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=86340"},"modified":"2015-06-03T22:19:42","modified_gmt":"2015-06-04T02:19:42","slug":"now-online-our-interviews-with-elena-ferrante-hilary-mantel-and-lydia-davis","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/06\/03\/now-online-our-interviews-with-elena-ferrante-hilary-mantel-and-lydia-davis\/","title":{"rendered":"Now Online: Our Interviews with Elena Ferrante, Hilary Mantel, and Lydia Davis"},"content":{"rendered":"

Before we commence with the dog and pony show for our brand spanking new Summer issue, you should know that the three interviews from our Spring issue are now available in full online.<\/p>\n

\"ferrante<\/a>

A page from the first draft of The Story of the Lost Child<\/i>.<\/p><\/div>\n

These include the first-ever in-person interview with Elena Ferrante<\/a>, who discusses her Neopolitan Novels, her reticence as a public figure, and her approach to her readership:<\/p>\n

\n

I publish to be read. It\u2019s the only thing that interests me about publication. So I employ all the strategies I know to capture the reader\u2019s attention, stimulate curiosity, make the page as dense as possible and as easy as possible to turn. But once I have the reader\u2019s attention I feel it is my right to pull it in whichever direction I choose. I don\u2019t think the reader should be indulged as a consumer, because he isn\u2019t one. Literature that indulges the tastes of the reader is a degraded literature. My goal is to disappoint the usual expectations and inspire new ones.<\/p>\n<\/blockquote>\n

\"Hilary<\/a>

Photo: Alwan Ezzidin<\/p><\/div>\n

And Mona Simpson\u2019s interview with Hilary Mantel<\/a>, who talks about her Cromwell books, the difference between historians and novelists, and the difference between the early and contemporary stages of her career:<\/p>\n

\n

When I began writing I had a perfect belief that, although I might not know how to do many things, I did know how to write a novel. Other \u00adpeople might have disputed that, looking at my efforts, and no one was in a hurry to endorse my confidence, but I did know within myself that I could write a novel. The reason was I\u2019d read so many that the pattern was internalized. I\u2019ve always been an intensely ambitious individual and whatever I was going to do, I was not going to let go until I got where I thought I ought to be. It\u2019s a question of, What will you sacrifice? What other things will you let go, to clear the space for your book? What develops later is something rather different, as you proceed from book to book, every book throwing up different demands, needing different techniques.<\/p>\n<\/blockquote>\n

\"Davis-Paris-73\"<\/a>

Davis in Paris, 1972.<\/p><\/div>\n

Plus, in the Art of Fiction No. 227, Lydia Davis explores her approach to the short story<\/a>, and to translations, and reflects on the influence her family life had on her process:<\/p>\n

\n

We also left each other notes when there was a family conflict. I guess it was my mother\u2019s idea that we should put it in writing, or that we should \u00adarticulate it, because I can see our different handwriting going back and \u00adforth over this problem, whatever it was. I thought it was kind of a terrible thing that we did that in my family. Because it made writing … oh, the text became full of emotion. I still have some of the notes that my mother left for me. In fact, we did a little dialogue \u2026 I suppose that was part of the family training\u2014Let\u2019s try to figure this out. Here\u2019s how I feel, you tell me how you feel. It is a way to work out some emotional situations, and certainly that went on in our house. It\u2019s just that when I come across those long messages from my mother it fills me with sadness.\u00a0<\/p>\n<\/blockquote>\n

For the latest in our Writers at Work series, subscribe to\u00a0The Paris Review<\/em> now<\/a>\u2014and be sure to check out what\u2019s coming next in our Summer issue<\/a>, which includes interviews on the Art of Translation with Peter Cole plus Richard Pevear and Larissa Volokhonsky.<\/p>\n","protected":false},"excerpt":{"rendered":"

Before we commence with the dog and pony show for our brand spanking new Summer issue, you should know that the three interviews from our Spring issue are now available in full online. These include the first-ever in-person interview with Elena Ferrante, who discusses her Neopolitan Novels, her reticence as a public figure, and her […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2559],"tags":[13206,2153,1132,17216,576,4206,17217,7782,10113],"class_list":["post-86340","post","type-post","status-publish","format-standard","hentry","category-bulletin","tag-elena-ferrante","tag-hilary-mantel","tag-interviews","tag-issue-212","tag-lydia-davis","tag-mona-simpson","tag-spring-2015","tag-the-art-of-fiction","tag-writers-at-work"],"acf":[],"yoast_head":"\nRead Our Interviews with Elena Ferrante, Hilary Mantel, Lydia Davis<\/title>\n<meta name=\"description\" content=\"June 3, 2015 \u2013 Before we commence with the dog and pony show for our brand spanking new Summer issue, you should know that the three 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