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Letters & Essays: P-R

Letters & Essays of the Day

Postwar Paris: Chronicles of Literary Life

By Alice Adams

Two of the most distinguished American literary artists of their generation—their names as frequently invoked by critics and historians as they are seldom linked—appear here in a conversation that is mostly about being in Pans after the Second World War. The occasion giving rise to this conversation was a late September, 1996, University of Pennsylvania weekend observation of my retirement from the English faculty there. When friends Norman Malier and Richard Wilbur accepted invitations to attend, I suggested talking about this experience that both had often said was personally important, that neither had ever overtly visited in his works, and that happened to have a particular relevance to the Penn audience in that season.

Answers to A Query on Thomas Wolfe

By Maxwell Perkins

1. I also enclose a brief statement of some of the facts of Mr. Wolfe's life, which will complete the answer to this question. He began to write for publication about three years before the publication of "Look Homeward Angel" which appeared in 1929. Before that he had written two plays but neither one was ever produced although those to whom they were submitted did discern the great talent of the man. Probably the play form is too precise and sharply limited for his sort of expansive genius.

The Paris Review Sketchbook

By George Plimpton

The Paris Review Eagle, or “the bird” as it was referred to, was designed by William Pène du Bois, the magazine’s art editor, in the spring of 1952. The symbolism is not difficult: an American eagle is carrying a pen: the French association is denoted by the helmet the bird is wearing—actually a Phrygian hat originally given a slave on his freedom in ancient times and which subsequently became the liberty cap or bonnet rouge worn by the French Revolutionists of the 19th Century.