{"id":93989,"date":"2016-02-01T13:12:24","date_gmt":"2016-02-01T18:12:24","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=93989"},"modified":"2016-02-01T13:53:03","modified_gmt":"2016-02-01T18:53:03","slug":"the-beginning-of-granary-books-an-interview-with-steve-clay","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/","title":{"rendered":"The Beginning of Granary Books: An Interview with Steve Clay"},"content":{"rendered":"
\"\"<\/a>

A page from John Cage\u2019s Nods<\/i>, published by Granary Books in 1991.<\/p><\/div>\n

Last September, Columbia University\u2019s Rare Book and Manuscript Library opened \u201cThe Book Undone: Thirty Years of Granary Books<\/a>,\u201d an exhibition celebrating Columbia\u2019s purchase of the Granary Books archive. \u201cIt\u2019s difficult to fully describe the range and impact of Steve Clay\u2019s Granary Books<\/a>,\u201d wrote Mark Dimunation, chief of the Rare Book and Special Collections Division of the Library of Congress. \u201cBeginning in 1985 he has concocted a mix of poets, artists, printers and craftspeople whose work defines an era and fundamentally shapes our understanding of the artists\u2019 book.\u201d<\/em><\/p>\n

Granary Books began in Minneapolis, but when Clay first visited New York in 1986, he was quick to see an opportunity. \u201cI came to do a one-week summer class in Columbia\u2019s Rare Book School,\u201d he remembered when we spoke in his Manhattan loft, \u201cmy first time in New York. Just coming to the city, getting off the bus at Port Authority, that was it.\u201d Three years later, Clay arrived in New York to stay. After looking for a space on the Lower East Side and Soho to start a bookstore, he joined forces with the poet and bookseller David Abel. I asked him to talk about those first years of Granary Books.<\/em><\/p>\n

We found 636 Broadway, doing it together with no formal plan. On the tenth floor you could display books, artist\u2019s books, that you couldn\u2019t on the ground floor. I lived there on the couch for months, took showers at David\u2019s on Thompson Street. Milk carton on the window ledge. No kitchen. David knew a lot of people, perfect for a shy guy like me. Dick Higgins of Something Else Press came into the store and so did the poet Jerome Rothenberg, who became and remains essential to Granary. We put on a retrospective show of Something Else Books. Higgins gave me great advice on how to deal with the projects people who came to the store suggested\u2014You\u2019re going to have to find a really nice way to say no.<\/p>\n

Granary had published a few broadsides and items in envelopes in Minneapolis, and while we had books by Jane Brakhage, Jonathan Williams, and Paul Metcalf well under way before New York, we didn\u2019t think of ourselves as book publishers. We displayed and sold fine press and artists\u2019 books and mounted shows of books and book art. The books we published happened as if in a dream. In the fall of 1989, I went to the Frankfurt Book Fair looking to meet people and buy books. I met the German artist Barbara Fahrner, who had a booth at the Fair, and I was blown away by her work and attitude and invited her to do a show in our gallery space. She came to New York, stayed on the couch and put up a show of her drawings. One day walking down Prince Street, just talking, Barbara said, Wouldn\u2019t it be great to do a book with John Cage? We immediately ran into Stephen Lowy, who worked with Cage.<\/p>\n

Funny to meet you right now, I said to him, we\u2019re thinking of doing a book with John Cage.<\/p>\n

I\u2019m seeing him tomorrow, Lowy said, and two days later he called with Cage\u2019s number. Barbara and I met with Cage who said, I\u2019m too old to write anything new for you. You can take anything I\u2019ve written and do anything you want with it. So we got out all my Cage books, found bits of his writing. Barbara performed chance operations to determine which texts we\u2019d use. She also did the drawings. Philip Gallo printed the book, Nods<\/a><\/em>. We published forty-five copies on a shoestring budget of twenty-five thousand dollars. Copies sold for twelve hundred dollars. We had no standing orders, but I said to myself, I am going to sell this book. Cage didn\u2019t want money. He said it would just go in taxes for weapons and war. We gave him copies of the book and sold the rest.<\/p>\n

This has been my way. No plan. Casual. Don\u2019t know what the book is going to be until it is done. I don\u2019t like to work with someone else\u2019s project. Mostly I propose the project\u2014I\u2019m not usually open to suggestions. If someone proposes something to me, I almost don\u2019t want to do it. If I can talk to someone, I\u2019ll know pretty soon whether or not I can work with them. I was going to do a book with a local printer. She said, What\u2019s your budget? I don\u2019t have a budget. What\u2019s it going to cost me? Friends are the only people I know to work with. I trust that once something is set in motion, everything will come in on time. Trust in the unknown is better than forcing things.<\/p>\n

\"\"<\/a>

A page from Lewis Warsh\u2019s Alien Abduction<\/i>, 2012.<\/p><\/div>\n

I hadn\u2019t thought of being an archive dealer.\u00a0Then by accident, just like with John Cage, here comes the poet Lewis Warsh. I met him in Park Slope, Brooklyn, and he immediately asked if I could do anything with books and artifacts he wanted to sell. It was a major cache, broadsides, posters, signed paper tablecloth from an Ear Inn reading. I took the material to 568 Broadway. Lewis led me to Clark Coolidge and others, Bernadette Mayer and Anne Waldman. By this time I knew Rodney Philips of the New York Public Library\u2019s Berg Collection. He began to buy nearly everything, bought Lewis\u2019s archive without looking at it. He had stepped down from a major position at the NYPL so that he could do exhibitions at the Berg. Our work on A Secret Location<\/a> <\/em>began with his visits. We were perfect together. Our knowledge overlapped but each of us knew things the other didn\u2019t. Word got out and more and more material, mimeos, small magazines, and small presses came our way. I really loved doing this, because my skill set includes identifying materials that hang together, organizing and cataloging them, writing about the material\u2014and I loved being part of a community, the community of poets and artists that took its inspiration from The New American Poetry.<\/em> The exhibition went up and Holland Cotter gave it a good review in the Times<\/em>. The book\u2019s title, A Secret Location on the Lower East Side: Adventures in Writing, 1960\u20131980<\/em>, comes from Ed Sanders, whose Fuck You: A Magazine of the Arts <\/em>was published from \u2018a secret location on the Lower East Side,\u2019 and from Larry Fagin\u2019s Adventures in Poetry<\/em>.<\/p>\n

This was one of my two favorite projects. Working with Jerry Rothenberg on A Book of the Book: Some Works & Projections About the Book & Writing<\/a> <\/em>was the other.\u201d<\/p>\n

Steve Clay, the publisher of Granary Books, is an editor, curator and archivist specializing in the poetry and art of the 1960s, \u201970s and \u201980s. He lives and works in New York City.<\/em><\/p>\n

William Corbett is a poet and memoirist who has written books on the painters Philip Guston and Albert York and edited the letters of the poet James Schuyler. He directs the small press Pressed Wafer and lives and works in Brooklyn, New York.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Last September, Columbia University\u2019s Rare Book and Manuscript Library opened \u201cThe Book Undone: Thirty Years of Granary Books,\u201d an exhibition celebrating Columbia\u2019s purchase of the Granary Books archive. \u201cIt\u2019s difficult to fully describe the range and impact of Steve Clay\u2019s Granary Books,\u201d wrote Mark Dimunation, chief of the Rare Book and Special Collections Division of […]<\/p>\n","protected":false},"author":927,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[907],"tags":[19682,13887,20973,8587,17,20142,7449,216,6929,20967,20974,1132,20971,20970,8117,20972,18945,165,272,8252,19825,20969,20968],"class_list":["post-93989","post","type-post","status-publish","format-standard","hentry","category-at-work","tag-anne-waldman","tag-art-books","tag-barbara-fahrner","tag-bernadette-mayer","tag-books","tag-clark-coolidge","tag-columbia-university","tag-design","tag-ed-sanders","tag-granary-books","tag-holland-cotter","tag-interviews","tag-jane-brakhage","tag-jerome-rothenberg","tag-john-cage","tag-jonathan-williams","tag-paul-metcalf","tag-poetry","tag-publishing","tag-rare-books","tag-small-presses","tag-stephen-lowy","tag-steve-clay"],"acf":[],"yoast_head":"\nSteve Clay on the Beginning of Granary Books<\/title>\n<meta name=\"description\" content=\"William Corbett talks to Steve Clay about his groundbreaking small press, Granary Books.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Beginning of Granary Books: An Interview with Steve Clay by William Corbett\" \/>\n<meta property=\"og:description\" content=\"February 1, 2016 \u2013 Last September, Columbia University\u2019s Rare Book and Manuscript Library opened \u201cThe Book Undone: Thirty Years of Granary Books,\u201d an exhibition celebrating\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2016-02-01T18:12:24+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2016-02-01T18:53:03+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"600\" \/>\n\t<meta property=\"og:image:height\" content=\"623\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"William Corbett\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"William Corbett\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/\"},\"author\":{\"name\":\"William Corbett\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4ea4cc9a281669ae50a6fd8ce5f39433\"},\"headline\":\"The Beginning of Granary Books: An Interview with Steve Clay\",\"datePublished\":\"2016-02-01T18:12:24+00:00\",\"dateModified\":\"2016-02-01T18:53:03+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/\"},\"wordCount\":1245,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg\",\"keywords\":[\"Anne Waldman\",\"art books\",\"Barbara Fahrner\",\"Bernadette Mayer\",\"books\",\"Clark Coolidge\",\"Columbia University\",\"design\",\"Ed Sanders\",\"Granary Books\",\"Holland Cotter\",\"interviews\",\"Jane Brakhage\",\"Jerome Rothenberg\",\"John Cage\",\"Jonathan Williams\",\"Paul Metcalf\",\"poetry\",\"publishing\",\"rare books\",\"small presses\",\"Stephen Lowy\",\"Steve Clay\"],\"articleSection\":[\"At Work\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/\",\"name\":\"Steve Clay on the Beginning of Granary Books\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg\",\"datePublished\":\"2016-02-01T18:12:24+00:00\",\"dateModified\":\"2016-02-01T18:53:03+00:00\",\"description\":\"William Corbett talks to Steve Clay about his groundbreaking small press, Granary Books.\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Beginning of Granary Books: An Interview with Steve Clay\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4ea4cc9a281669ae50a6fd8ce5f39433\",\"name\":\"William Corbett\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/e4bae665cbd2c02148e69db26add567934623cd27e054c47fb7fd408f55db36a?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/e4bae665cbd2c02148e69db26add567934623cd27e054c47fb7fd408f55db36a?s=96&d=mm&r=g\",\"caption\":\"William Corbett\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/wcorbett\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Steve Clay on the Beginning of Granary Books","description":"William Corbett talks to Steve Clay about his groundbreaking small press, Granary Books.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/","og_locale":"en_US","og_type":"article","og_title":"The Beginning of Granary Books: An Interview with Steve Clay by William Corbett","og_description":"February 1, 2016 \u2013 Last September, Columbia University\u2019s Rare Book and Manuscript Library opened \u201cThe Book Undone: Thirty Years of Granary Books,\u201d an exhibition celebrating","og_url":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2016-02-01T18:12:24+00:00","article_modified_time":"2016-02-01T18:53:03+00:00","og_image":[{"width":600,"height":623,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg","type":"image\/jpeg"}],"author":"William Corbett","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"William Corbett","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/"},"author":{"name":"William Corbett","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4ea4cc9a281669ae50a6fd8ce5f39433"},"headline":"The Beginning of Granary Books: An Interview with Steve Clay","datePublished":"2016-02-01T18:12:24+00:00","dateModified":"2016-02-01T18:53:03+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/"},"wordCount":1245,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg","keywords":["Anne Waldman","art books","Barbara Fahrner","Bernadette Mayer","books","Clark Coolidge","Columbia University","design","Ed Sanders","Granary Books","Holland Cotter","interviews","Jane Brakhage","Jerome Rothenberg","John Cage","Jonathan Williams","Paul Metcalf","poetry","publishing","rare books","small presses","Stephen Lowy","Steve Clay"],"articleSection":["At Work"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/","url":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/","name":"Steve Clay on the Beginning of Granary Books","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg","datePublished":"2016-02-01T18:12:24+00:00","dateModified":"2016-02-01T18:53:03+00:00","description":"William Corbett talks to Steve Clay about his groundbreaking small press, Granary Books.","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/02\/2006bh7945.jpg"},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2016\/02\/01\/the-beginning-of-granary-books-an-interview-with-steve-clay\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"The Beginning of Granary Books: An Interview with Steve Clay"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/4ea4cc9a281669ae50a6fd8ce5f39433","name":"William Corbett","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/e4bae665cbd2c02148e69db26add567934623cd27e054c47fb7fd408f55db36a?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/e4bae665cbd2c02148e69db26add567934623cd27e054c47fb7fd408f55db36a?s=96&d=mm&r=g","caption":"William Corbett"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/wcorbett\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/93989","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/927"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=93989"}],"version-history":[{"count":7,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/93989\/revisions"}],"predecessor-version":[{"id":94001,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/93989\/revisions\/94001"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=93989"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=93989"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=93989"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}