{"id":97700,"date":"2016-05-04T13:24:39","date_gmt":"2016-05-04T17:24:39","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=97700"},"modified":"2016-05-04T15:38:26","modified_gmt":"2016-05-04T19:38:26","slug":"now-online-our-interviews-with-gordon-lish-and-jane-michael-stern","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/05\/04\/now-online-our-interviews-with-gordon-lish-and-jane-michael-stern\/","title":{"rendered":"Now Online: Our Interviews with Gordon Lish and Jane &#038; Michael Stern"},"content":{"rendered":"<p>Spring is still gray, but\u00a0we have some news that might help make it\u00a0less so:\u00a0<a href=\"https:\/\/www.theparisreview.org\/interviews\/6423\/the-art-of-editing-no-2-gordon-lish\" target=\"_blank\">both<\/a> <a href=\"https:\/\/www.theparisreview.org\/interviews\/6421\/the-art-of-nonfiction-no-8-jane-and-michael-stern\" target=\"_blank\">interviews<\/a> from our Winter 2015 issue\u2014with Gordon Lish and Jane and Michael Stern\u2014are now available in full online.<\/p>\n<div id=\"attachment_97731\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/lish-esquire.jpg\" rel=\"attachment wp-att-97731\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-97731\" class=\" wp-image-97731\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/lish-esquire.jpg\" alt=\"Gordon Lish outside the Esquire offices, in New York, ca. 1970. Photo by Bud Lee.\" width=\"600\" height=\"870\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/lish-esquire.jpg 606w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/lish-esquire-207x300.jpg 207w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-97731\" class=\"wp-caption-text\">Gordon Lish outside the Esquire offices, in New York, ca. 1970. Photo by Bud Lee.<\/p><\/div>\n<p><!--more--><\/p>\n<p>In <a href=\"https:\/\/www.theparisreview.org\/interviews\/6423\/the-art-of-editing-no-2-gordon-lish\" target=\"_blank\">The Art of Editing No. 2 with Gordon Lish<\/a>\u2014the editor of Raymond Carver, Don DeLillo, Joy Williams, Barry Hannah, and Harold Brodkey, and still revered today\u00a0for his decisive taste and heavy hand\u2014Christian Lorentzen asks, \u201cHow can you tell what\u2019s good? How can you tell shit from Shinola?\u201d Lish answers:<\/p>\n<blockquote>\n<p>Because I\u2019ve got the fucking gift for it. Instinct, call it. Whatever the \u00adproperty, in truth or in delusion, I depend upon it. Without a hitch. I would regard myself as infallibly able to make distinctions between this and that, distinctions others would either not make or would withdraw from acknowledging. I would think, How can they not see? I would sit with Harold Bloom with some regularity, hand over a book I thought highly of, say, Jack Gilbert or <em>Blood Meridian<\/em>, and wait for him to refuse even to look. Or if he did look, he\u2019d not seem to see in it what I\u2019d see. Later, when he was \u00adassembling his Western canon, he stuck in, I believe, McCarthy\u2019s <em>Blood Meridian<\/em> and the great <em>Suttree<\/em>. All of McCarthy is great, save perhaps the novel that was so widely read\u2014<em>Horses<\/em>, <em>All the Pretty Horses<\/em>, and <em>The Orchard Keeper<\/em>.\u00a0<\/p>\n<\/blockquote>\n<p><center><div id=\"attachment_97701\" style=\"width: 410px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/2016-05-04_lish-ray2.jpg\" rel=\"attachment wp-att-97701\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-97701\" class=\"wp-image-97701\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/2016-05-04_lish-ray2.jpg\" alt=\"Edited manuscript page of Barry Hannah\u2019s Ray (1980).\" width=\"400\" height=\"514\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/2016-05-04_lish-ray2.jpg 1014w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/2016-05-04_lish-ray2-233x300.jpg 233w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/2016-05-04_lish-ray2-768x987.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/2016-05-04_lish-ray2-797x1024.jpg 797w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-97701\" class=\"wp-caption-text\">Edited manuscript page of Barry Hannah\u2019s <i>Ray<\/i> (1980). Courtesy the Lilly Library, Indiana University, Bloomington, Indiana.<\/p><\/div><\/center><\/p>\n<p>And in the Art of Nonfiction No. 8, our\u00a0contributing editor, Sadie Stein, takes on a <a href=\"https:\/\/www.theparisreview.org\/interviews\/6421\/the-art-of-nonfiction-no-8-jane-and-michael-stern\" target=\"_blank\">double interview with Jane and Michael Stern<\/a>, the dynamic duo of food writing and James Beard Award\u2013winning fame.<\/p>\n<blockquote><div id=\"attachment_97730\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/stern-1975.jpg\" rel=\"attachment wp-att-97730\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-97730\" class=\"wp-image-97730\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/stern-1975.jpg\" alt=\"At home in Connecticut in 1975, with the manuscript of the first edition of Roadfood.\" width=\"600\" height=\"410\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/stern-1975.jpg 649w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/05\/stern-1975-300x205.jpg 300w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-97730\" class=\"wp-caption-text\">At home in Connecticut in 1975, with the manuscript of the first edition of <i>Roadfood<\/i>.<\/p><\/div>\n<p style=\"text-align: center;\">INTERVIEWER<\/p>\n<p style=\"text-align: left;\">When you started writing about road food, did you think it was of a piece with the folkways movement that was going on then?<\/p>\n<p style=\"text-align: center;\">MICHAEL STERN<\/p>\n<p style=\"text-align: left;\">If we didn\u2019t at the start, we very quickly did. The year after\u00a0<em>Roadfood<\/em>\u00a0was published, we published\u00a0<em>Amazing America<\/em>. And in\u00a0<em>Amazing America<\/em>\u00a0there are lots of folk-art environments and stuff like that. I think when we absolutely started, when\u00a0<em>Roadfood<\/em>\u00a0was called\u00a0<em>Truck Stoppin\u2019<\/em>, we weren\u2019t thinking that it had anything to do with pop culture or folk art, but as soon as we got on the road and started finding guys like Howard Finster and that guy in Wisconsin\u2014<\/p>\n<p style=\"text-align: center;\">JANE STERN<\/p>\n<p style=\"text-align: left;\">\u2014the guy who collected\u2014<\/p>\n<p style=\"text-align: center;\">JANE AND MICHAEL STERN<\/p>\n<p style=\"text-align: left;\">\u2014the oil rags\u2014<\/p>\n<p style=\"text-align: center;\">MICHAEL STERN<\/p>\n<p>\u2014not only did we very quickly realize that that was our passion, but I think it really helped us, in some way, to get a perspective on the food we were writing about. It wasn\u2019t just truck-stop food. It was food that was a cultural phenomenon as well.<\/p>\n<\/blockquote>\n<p>For the next in our Writers at Work series, <a href=\"https:\/\/ssl.drgnetwork.com\/ecom\/TPR\/app\/live\/subscriptions?&amp;org=TPR&amp;publ=PR&amp;key_code=ENTPRFX&amp;type=S&amp;gift_key=GATPRFX\" target=\"_blank\">subscribe to <em>The Paris Review<\/em><\/a><i>\u00a0<\/i>now. We can\u2019t tell you much about our Summer issue yet, but we will say it\u2019ll include interviews with Jay McInerney (<em>Bright Lights, Big City<\/em>) and Norway\u2019s \u201c<a href=\"https:\/\/www.theparisreview.org\/blog\/2015\/05\/29\/staff-picks-peasantry-propaganda-playground-crises\/\" target=\"_blank\">greatest living novelist<\/a>,\u201d Dag Solstad.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Spring is still gray, but\u00a0we have some news that might help make it\u00a0less so:\u00a0both interviews from our Winter 2015 issue\u2014with Gordon Lish and Jane and Michael Stern\u2014are now available in full online.<\/p>\n","protected":false},"author":973,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2559],"tags":[2282,1132,20341,9864,20342,20343,20344,15938,10113],"class_list":["post-97700","post","type-post","status-publish","format-standard","hentry","category-bulletin","tag-gordon-lish","tag-interviews","tag-issue-215","tag-jane-and-michael-stern","tag-jane-stern","tag-michael-stern","tag-the-art-of-editing","tag-the-art-of-nonfiction","tag-writers-at-work"],"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>Now Online: Our Interviews with Gordon Lish and Jane &amp; 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