{"id":93697,"date":"2016-01-22T09:19:36","date_gmt":"2016-01-22T14:19:36","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=93697"},"modified":"2016-01-22T11:53:35","modified_gmt":"2016-01-22T16:53:35","slug":"weve-got-spines-for-everyone-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/01\/22\/weve-got-spines-for-everyone-and-other-news\/","title":{"rendered":"We\u2019ve Got Spines for Everyone, and Other News"},"content":{"rendered":"<div id=\"attachment_93698\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/tpr_spines.jpg\" rel=\"attachment wp-att-93698\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-93698\" class=\"wp-image-93698\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/tpr_spines.jpg\" alt=\"\" width=\"600\" height=\"455\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/tpr_spines.jpg 3657w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/tpr_spines-300x228.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/tpr_spines-768x583.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/01\/tpr_spines-1024x777.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-93698\" class=\"wp-caption-text\">Collect \u2019em all. (All 215 of them.)<\/p><\/div>\n<ul>\n<li>AIGA\u2019s Eye on Design blog has a thoughtful, thorough history of <em>The Paris Review<\/em>\u2019s art and design, with stories from our former editor Maxine Groffsky and our art editor, Charlotte Strick. \u201cThe masthead has shape shifted from serif to sans and back again; its size has gone from pamphlet, to book, to magazine, to somewhere in-between \u2026 \u2018<a href=\"https:\/\/eyeondesign.aiga.org\/how-50s-lit-mag-the-paris-review-stays-relevant-60-years-in-redesign-redesign-redesign\/\" target=\"_blank\">Mining\u00a0<em>The Paris Review<\/em>\u2019s\u00a0rich archives revealed that the primary role of design in those mid-century issues was to support the publication\u2019s beautifully curated literature and artwork<\/a>,\u2019 says art editor Strick. She was determined to make the\u00a0current publication work in the same way, while simultaneously reminding the reader of\u00a0<em>The Paris\u00a0Review<\/em>\u2019s\u00a0continual\u00a0evolution.\u201d<\/li>\n<li>Scholars have long endeavored to place Sarah Palin on the continuum of American poets\u2014but where does she belong? Her speech endorsing Trump this week suggests that she\u2019s the next Walt Whitman, as Jeet Heer writes: \u201cThere is a strong consensus among Palin scholars as to where she fits into the poetic pantheon: <a href=\"https:\/\/newrepublic.com\/article\/128074\/sarah-palin-walt-whitman-wasilla\" target=\"_blank\">She is heir to the tradition of free-flowing democratic verse that runs from Walt Whitman to Carl Sandburg to Allen Ginsberg<\/a> \u2026 Now that Palin is back in the spotlight, it\u2019s hard not to hear her voice in her great precursor Whitman. Palin\u2019s alliterative apostrophe to the common folk of Iowa (\u201cYou farm families! And teachers! And teamsters! And cops, and cooks!\u201d) calls to mind the egalitarian inclusiveness of Whitman\u2019s many lists \u2026 As a right-wing populist, Palin shifts the political valence but keeps the allegiance to the ordinary. As much as any Whitmanesque poet, she claims to be the voice of those who are never listened to.\u201d<\/li>\n<li>In which Janet Malcolm takes Ted Hughes\u2019s unauthorized biographer, Jonathan Bate, to task: \u201c<a href=\"http:\/\/www.nybooks.com\/articles\/2016\/02\/11\/ted-hughes-very-sadistic-man\/\" target=\"_blank\">Beyond tastelessness there is Bate\u2019s cluelessness about what you can and cannot do if you want to be regarded as an honest and serious writer<\/a> \u2026 The question of what [Hughes] was \u2018really\u2019 like remains unanswered, as it should. If anything is our own business, it is our pathetic native self. Biographers, in their pride, think otherwise. Readers, in their curiosity, encourage them in their impertinence. Surely Hughes\u2019s family, if not his shade, deserve better than Bate\u2019s squalid findings about Hughes\u2019s sex life and priggish theories about his psychology.\u201d<\/li>\n<li>Fact: Robert Pinsky once wrote a text-adventure video game called <em>Mindwheel<\/em>. \u201cFor a brief time in the mid-nineteen-eighties major literary publishers, including Simon &amp; Schuster and Random House, opened software divisions, and major bookstores stocked works of \u2018interactive fiction,\u2019 \u201d writes James Reith; Pinsky\u2019s <em>Mindwheel <\/em>is \u201c<a href=\"http:\/\/www.newyorker.com\/books\/page-turner\/when-robert-pinsky-wrote-a-video-game\" target=\"_blank\">a playful mishmash of sci-fi tropes, Pop surrealism, and allusions both high and low: the work of a poet having fun, but still the work of a poet<\/a>. After all, Pinsky pointed out to me, \u2018allusion\u2019 and \u2018ludicrous\u2019 both come from the Latin\u00a0<em>ludere<\/em>, meaning \u2018to play.\u2019 \u201d<\/li>\n<li>While we\u2019re here poring over our \u201cbooks\u201d and our \u201cliterature,\u201d there are people out there with their eyes on the real prize: an elevator to the stars. \u201c<a href=\"http:\/\/www.smithsonianmag.com\/innovation\/people-are-still-trying-build-space-elevator-180957877\/?utm_source=twitter.com&amp;no-ist&amp;is_pocket=1\" target=\"_blank\">As outlandish as it seems, a space elevator would make getting to space accessible, affordable and potentially very lucrative<\/a>. But why it hasn\u2019t happened yet basically boils down to materials\u2014even the best of today\u2019s super-strong and super-lightweight materials just still aren\u2019t good enough to support a space elevator \u2026 \u2018The problem with the entire space elevator effort is that there is no real support for it \u2026 This is what a project looks like when it\u2019s done as a hobby, by hundreds of people spread out all over the world. There will be no substantial progress until there is real support and professional coordinating management for the effort.\u2019 \u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>AIGA\u2019s Eye on Design blog has a thoughtful, thorough history of The Paris Review\u2019s art and design, with stories from our former editor Maxine Groffsky and our art editor, Charlotte Strick. \u201cThe masthead has shape shifted from serif to sans and back again; its size has gone from pamphlet, to book, to magazine, to somewhere [&hellip;]<\/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":[2512],"tags":[20857,434,216,2861,42,20859,20629,1453,20858,7355,20860,7179,426,494,264],"class_list":["post-93697","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-aiga","tag-charlotte-strick","tag-design","tag-history","tag-janet-malcolm","tag-jonathan-bate","tag-maxine-groffsky","tag-robert-pinsky","tag-sarah-palin","tag-science","tag-space-elevators","tag-ted-hughes","tag-the-paris-review","tag-video-games","tag-walt-whitman"],"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>Sixty Years of The Paris Review\u2019s Design: A History<\/title>\n<meta name=\"description\" content=\"This and more in 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