My Ugly Bathroom

Photograph by Sarah Miller.

My bathroom is ugly. My bathroom is so ugly that when I tell people my bathroom is ugly and they say it can’t be that ugly I always like to show it to them. Then they come into my bathroom and they are like, Holy shit. This bathroom is so ugly. And I say, I know, I told you.

Let me list the elements of my ugly bathroom: the sink has plastic handles and it’s impossible to clean behind the faucet. Or, you can clean behind it but it’s difficult, so it’s always grimy. The sink itself, the basin, is made of some sort of plastic material that probably used to be white and is now off-white.

The water pressure in the sink is almost nonexistent. I’m not sure if this has anything to do with the sink itself but when your bathroom looks like this you don’t think, Oh wow, I really want to improve the water pressure, because bad water pressure goes with the decor.

The textured ceiling looks like a birthday cake that was frosted with canned white frosting by a person who hates whoever’s birthday it is.

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I Could Not Believe It: The 1979 Teenage Diaries of Sean DeLear

Courtesy of Semiotext(e).

I met Sean DeLear when I was twenty-four, in this house across from the Eagle in Los Angeles—I remember Sean talking about the LA scene, me asking him if he had a Germs burn (I don’t remember the answer), but also being very struck by the fact that up until that point I had probably met only a couple dozen Black punks but never anyone of Sean De’s age and with their poise. Even in Stripped Bare House at 2 A.M. and being festive she just commanded this kind of magic and glamour—it was definitely something to reach for and to aspire to. We don’t always clock these things when we are younger, but the mere presence of her let me be hip to the fact that I could be beautiful, Black, and punk forever—and in fact, it would be the best possible path to take.

It had been mentioned to me by Alice Bag (of the Bags, duh) that Sean was amongst the “First 50”—that seminal group of LA kids who were the first freaks to go to punk shows in Los Angeles and the geniuses of LA punk. Being a total-poser nineties punk I can’t even wrap my head around the dopamine effect of being in the mix when it all felt new—when Sean first started taking the bus out of Simi Valley and going headfirst into the scene for shows in Hollywood. How very frightening and liberating it must have been at the time for her, but of course I think Sean De was way beyond the title “trendsetter”—the word for her is MOTHER, forever, for sure, and for always.

What is contained in the tiny pages of this book is a blaringly potent historical artifact of Black youth, seconds before the full realization into the scary world of adolescence and inevitable adulthood. Uncomfortable in parts? Yes, of course. I remember in eighth grade reading The Diary of Anne Frank—the uncensored version, which was withheld from the public until her father’s death because he stated he could not live with the most private parts of his adolescent daughter’s diary being consumed by the world. There is a certain sense of protection I feel for baby Sean De’s most private thoughts being so exposed; however, so very little is written about the lives and the bold sexuality of young queers, and specifically of young Black queers, that I also have to give regard to the fact that there is something ultimately explosive about this text. It also denotes the intense singularity of its author. A gay Black punk one generation AFTER DeLear, at the age of fourteen I was rather content staring at a wall and obsessing over my Lookout Records catalog—I can’t even comprehend a gay Black kid some thirty years before planning to blackmail older white boys’ dads for money for acting lessons. Okay, like first of all, YAAAAAAAS BITCH, and second, this level of forward thinking is what propelled Sean De to become the scene girl to end all scene girls. I do have to imagine what level of this diary is real and which parts sit in an autofictional space—did she REALLY fuck all these old white dudes? Or was it a horny and advanced imagination at play? The only real answer is WHO CARES. I think one of the most magical things about Sean De was that her imagination and her fantasy world were so absolute. The world she was spinning always BECAME true—this is the beauty of a shape-shifter, and she was a noted scene darling and muse for this reason.

Now amid all this magic, of course, was her fair share of trials and tribulations. Sean related to me that when her band Glue’s music video for “Paloma” debuted on MTV’s 120 Minutes, a higher-up in programming made a call to make sure that it was never shown again—and how sad.

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Book Riot’s YA Book Deals of the Day for March 25, 2023

Book Riot’s YA Book Deals of the Day for March 25, 2023

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Book Riot’s Deals of the Day for March 25, 2023

Book Riot’s Deals of the Day for March 25, 2023

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Manuscript Thief of 1,000 Unpublished Books Will Not Receive Prison Time

Manuscript Thief of 1,000 Unpublished Books Will Not Receive Prison Time

For years, hundreds of high-profile manuscripts — including early versions of books by Margaret Atwood and Sally Rooney — were stolen in a phishing scheme. The most puzzling part of the case was that nothing seemed to come from these thefts; uthe manuscripts were not leaked or sold, as far as anyone could tell. So why go to the trouble of impersonating a publisher in order to get these manuscripts?

Last year, we finally found out the person behind the theft of roughly 1,000 unpublished books: Filippo Bernardini. But that didn’t address the bigger questions about the case.

Bernardini has now gone to court and pleaded guilty to wire fraud. His lawyer, Jennifer Brown, argued for a light sentence, saying he grew up lonely, often bullied for being gay, and found refuge in books.

Bernardini said he “wanted to keep them closely to my chest and be one of the fewest to cherish them before anyone else, before they ended up in bookshops” and that reading them at this stage felt like having a “special and unique connection with the author, almost like I was the editor of that book.”

The argument worked, in that Filippo Bernardini will not be going to jail. He will be deported to the UK or Italy, however, and must pay $88,000 to Penguin Random House to cover their legal fees.

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2023 NBCC Award Winners Announced

2023 NBCC Award Winners Announced

The winners of the 2023 National Book Critics Circle Awards were announced last night at the New School. Books published in English in 2022 were eligible to win in six categories — Nonfiction, Fiction, Biography, Autobiography, Poetry and Criticism. Additionally, the best first book won the John Leonard Prize award, and this year is the first time the best book translated into English of any genre won the Gregg Barrios Book in Translation Prize.

The first NBCC Awards were granted in 1976 with the aim to highlight excellent writing and start a conversation that centered reading, criticism, and literature. Winners are chosen from nominations received from the almost 800 authors, critics, publishers, and others who are NBCC members. The NBCC grants the only literary awards of this size that are chosen by critics.

The 2023 NBCC Award winners are as follows:

Fiction

Bliss Montage by Ling Ma (Farrar, Straus and Giroux)

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Rivers Solomon, Elisa Gonzalez, and Elaine Feeney Recommend

Kusudama cherry blossom. Courtesy of praaeew, CC0, via Wikimedia Commons.

As I get older, and the world gets worse, or gets differently bad, or stays the same but my understanding of its badness deepens and broadens, I grow ever more dependent upon books like Akwugo Emejulu’s Fugitive Feminism. This short, sharp text reminds readers that, like the rattling door in a haunted house or the concerned face of a friend who understands well the way a lover is slowly bringing about your annihilation, it is good to leave that which does not serve you. Fleeing, as in the case of the enslaved from the plantation, is no act of cowardice but a tremendous gesture toward liberation.

The flight Emejulu encourages is not from a place but from a conceptual space. Referencing the work of Black critical theorists like Sylvia Wynter, Fugitive Feminism troubles the notion of the “human,” arguing that it is not a neutral, objective term for one type of mammal but a philosophical and political category informed by colonialism that, from its invention, excluded Blackness and Black people. For years, many have fought (to no avail) to be, for once, called and acted upon as humans, but for Emejulu, there is nothing to be reclaimed in that cursed white supremacist taxonomy. When we stop seeking inclusion into a category built on genocide and eugenics, there is freedom to explore other ways of being, seeing, and doing.

Emejulu’s writing is clear, evocative, and concise, and while readers with no background in the subject material may find places where they need to spend more time, Fugitive Feminism is an extraordinarily accessible text that will touch many of those left behind by society without sacrificing complexity and critical rigor.

—Rivers Solomon, author of “This Is Everything There Will Ever Be

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Book Riot’s Deals of the Day for March 24, 2023

Book Riot’s Deals of the Day for March 24, 2023

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Are Literary Agents Seeing Changes in Publishing with Increased Book Bans (A Survey): Book Censorship News, March 24, 2023

Are Literary Agents Seeing Changes in Publishing with Increased Book Bans (A Survey): Book Censorship News, March 24, 2023

There are a lot of suspicions that during this era of book bans, we’ll begin to see a different output of material from publishers. They may pull back on queer books and/or books by people of color, those books which approach “sensitive” topics like sex and sexuality, and even graphic novels. Unfortunately, because of how publishing works years in advance, we won’t be able to see how this plays out for another year or two.

But there is another element of the publishing ecosystem worth reaching to see if they have seen changes: literary agents.

For those who are not familiar with what agents do, the short answer is they represent the authors and books and work to sell those books to editors on the behalf of those authors. They are, for lack of a better way to describe it, the intermediaries. As such, they have a lot of insight both into what’s happening to authors and what’s happening in Big Five Publishing.

This week, I’ve put together a survey for literary agents to share what they’re seeing in the world of books with regard to book bans. Any agent is welcome to partake, and they may pass the survey along to colleagues — it is anonymous, with no required number of questions to be answered.

You can access the survey here.

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Stuck on Steampunk: Take Flight With These 7 Steampunk Comics

Stuck on Steampunk: Take Flight With These 7 Steampunk Comics

The steampunk genre has been my jam since I first laid eyes on the epic airships of the Final Fantasy IX Playstation game as a kid. I loved nothing more than watching my brothers play it. Sometimes I would play too, but it was less effort to sit back and watch the game unfold in front of me. Seeing airships again while watching Treasure Planet in theaters in 2002 gave me so many feelings. If we want to get technical, the movie’s technology involves solar power rather than steam, but the speculative 19th century atmosphere definitely gives it a steampunk feel. As I explored more steampunk growing up, I fell further in love with it, including steampunk comics.

What is steampunk?

While out to dinner with extended family a couple years ago, my uncle asked me what steampunk was. As I tried to put to words the concept of steampunk as a whole, with its focus on 19th century alternate worlds immersed in steam-powered tech and fantastical elements, I struggled to name all the alluring threads that come together to make steampunk. I think I lost my uncle when I started going off on a tangent about earrings with ticking clocks and gears. My sister-in-law told me I’d definitely baffled him.

That’s the thing with steampunk though. It’s not just a genre of books and media involving Victorian-era settings with impressive steam machinery. It’s a whole aesthetic. Finding ways to subtly dress steampunk is very much my vibe, ticking earrings and all.

Along with this though, Amber Troska makes an excellent case on how steampunk extends even beyond the aesthetic. In her analysis of one of my favorite steampunk Studio Ghibli films, Castle in the Sky, Troska (2020) writes, “Yet, despite how entrenched the term has become as an aesthetic marker, I would argue the best steampunk stories regularly engage with social and political issues, with the rewriting of history through alternate histories and technologies operating as a deconstruction (and reconstruction) of contemporary concerns.”

Troska also digs into distinctions that may arise in steampunk content created, explaining,”Western steampunk stories are often set at the height of the colonial and industrial power of Europe (especially Great Britain), while Japanese entries in the genre are perpetually aware of the collapse of their imperial might on the world stage and the destructive height of industrialization.” It’s interesting to think about the various adaptations of steampunk and how different cultures can place unique lens on these fantasy worlds.

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The Best Science Fiction is Real: Realistic Sci-Fi to TBR

The Best Science Fiction is Real: Realistic Sci-Fi to TBR

When it comes to science fiction, there is a fine line for the suspension of belief. To truly sit within the science fiction genre, you have to have some element of realism with your science. Otherwise, it is simply fantasy (which is okay and I have no problem with this, but at least be honest with yourself). Real science fiction takes what we know about science and then adds the story on top.

To be fair, science has been leaping forward every day with new discoveries. Sci-fi writers only need to turn on the news for a brief moment before they are inundated with ideas for their next story. Many readers, including myself, LOVE this element of realism. Maybe it’s because I like a book that does exactly what it says on the cover. Maybe it’s the scientific mind, always asking and seeking a reason why. Either way, the love for realism in science fiction continues to grow, splintering off into the sub-genre, Hard Science Fiction.

For a quick rundown on what counts as Hard Science Fiction, check out this Beginner’s Guide to the Genre. If you’re ready to immerse yourself in some truly realistic science fiction novels, then we have the list for you.

Frankenstein by Mary Wollstonecraft Shelley

Mary Shelley is the mother of science fiction. It’s hard enough to bring in the credit she is owed for her amazing literary skills. However, she also did a lot of research to add as much realism to her story as possible. Shelley refused to have her story relegated to the realms of fantasy (not that there is anything wrong with that but she simply did not want this). Instead, she was the first to fully integrate contemporary biological research with her horror concepts. Her research into Galvanism encouraged scientists to further investigate the then-new theory of electrical currents creating movement in muscles. There are also some claims of subtle undertones in Frankenstein relating to Shelley’s own concerns for meteorology, weather patents, and potential climate change. Even all the way back in 1818.

Parable of the Sower by Octavia E. Butler

I’m always nervous when a book is set ‘just around the time corner’ with way too many similarities to ignore. This one is set in 2025 with a too-near future where climate change leads to violence, drought, and famine everywhere. Lauren Olamina is one of many struggling to survive, both the world outside and her personal condition: hyperempathy. Hyperempathy makes her extraordinarily sensitive to the pain of others. When fire destroys her community, Lauren must lead a group of refugees across the United States of America and not lose herself in the process. Although published in 1993, this book is absolutely accurate in its analysis of climate change and its potential impact on our communities and ecosystem. It’s hard not to be caught up in social commentary when science is right outside our door.

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What Murder Mysteries Get Wrong About The Food Industry

What Murder Mysteries Get Wrong About The Food Industry

Food cozies are one of the most popular sub-genres of cozy mysteries including themes based on everything from ice cream to grilled cheese to cupcakes, and even a cannabis bakery! Food brings people together. Imaginary food, even more so. Plus, there are often recipes that you can really try. 

But how much do the cozies that take place in restaurants, bakeries, and other food establishments reflect the reality of working in the food industry? It’s important to know that this isn’t to point fingers at books that get it wrong but more as a thought experiment about the differences and more importantly, why those differences exist in the first place. 

I had the opportunity to talk to two mystery writers who have experience working in the food industry. Misha Popp, author of the delightful Pies before Guys series, started baking for fun before she decided to work at a bakery in Western Massachusetts, which closed after a fire. She returned to working on her own small dessert catering for people in her life. The second book in the series, A Good Day to Pie, came out in February.

Leslie Karst, author behind the Sally Solari Mystery Series, has worn many hats. She worked as a waitress through college, became a lawyer, and later went back to culinary school. She even got to cook for the late Supreme Court Justice Ruth Bader Ginsburg which is the topic of her forthcoming memoir, Justice is Served: A Tale of Scallops, the Law, and Cooking for RBG (April 4, 2023).

The Question of Time

One of the biggest fallacies in cozies is how the protagonists and their fellow characters spend their time. Popp said, “[B]akery and restaurant hours are [inhospitable] to not only having any kind of life but to investigating a crime.” Plus, while people are enjoying their free time, Popp explained, you are often working, so finding time to question people is hard.

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An Overthinker’s Guide to Giving Book Recommendations

An Overthinker’s Guide to Giving Book Recommendations

You must first internalize that it’s just not that big of a deal. People have different tastes; if someone doesn’t like the book you recommended, so what! Maybe they have bad taste. Maybe it’s not a reflection of you and everything you thought you believed about yourself, like that you have good taste in books and interesting opinions on literature and a thoughtful way of imagining what other people might enjoy. Maybe, it, um, says more about them than you? Or maybe it means you have just ruined a lifelong friendship and not only will this person never trust your opinion on literature again but they will probably never trust YOU again and they might even un-invite you to be a bridesmaid in their wedding which would not only be extremely embarrassing because you’re already on the wedding website but you would have to try and return that custom $300 dress.

Ok deep breaths, deep breaths are good, that was just the overthinking getting in your way of confidently recommending a good book to a good friend. Probably your friend will like it. If they don’t, probably they won’t even remember that you recommended it. Probably they will forget all about it. Unless…there is that scene in the third chapter that involves a cat getting stuck in a tree and your friend’s childhood cat did die four years ago. Oh my god, how could you have possibly been so insensitive? Your friend probably hates you now. Great. How many hours did you waste driving to visit her during college??? Maybe you would have passed intro to Spanish, except that she was having such a hard time freshman year and you wanted to be there to support her. And now that was all a waste because you didn’t even think through the potentially sensitive content in the book you recommended. 

Whew, that was a big one. Let’s acknowledge those bad thoughts and move on.

So, what I wanted to address in this piece is that there is no need to overthink your book recommendations. Say this three times in the mirror: “I have good taste in books. I am a confident reader and I can live with it if someone doesn’t like the book I recommended.” Would it even be your fault if someone didn’t like the book you recommended? Maybe they just didn’t get it. Oh my god, what if they don’t understand that it’s satire and think the book you recommended is misogynist. You might want to text Fred and find out if he gets that the book is satirical. If he misses that, it could be a real disaster. He must think you are a total idiot and completely clueless. “Why would she recommend a book by an author who clearly despises other women???” Oh wow, you really didn’t think this through. You just thought the humor and social commentary was so biting, but maybe if he doesn’t get it, he’ll think you didn’t get it in the opposite way? And then he’ll be all, “didn’t she major in English lit? Why would she recommend this dreck?” 

Okay, so that kind of thinking is exactly what you’re trying to avoid (but just FYI, you did text Fred and he does get the satire. Thank god!). Something that could be helpful if you tend to overthink is to have a set list of go-to recommendations. Books that have received critical acclaim and that you also enjoyed, so you have not only your own opinion but the critics to back you up as well. Although, what if then people think that you can’t think for yourself and you’re only recommending books that they could go find in the New York Times Book Review? That would be kind of embarrassing as someone whose “thing” is books. And what if you have this go-to list and you accidentally recommend the same book to the same person twice? They would probably be all like “what, has she only read three books? Why am I taking advice from someone who clearly barely reads herself?” That would also suck. That could really negatively impact the way people see you — they might think that you are just a bland follower, not confident in your own opinions and therefore not confident enough to deliver a speech at their wedding…

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On Paper: An Interview with Thomas Demand

Courtesy of Thomas Demand and MACK.

The Review has long been a fan of Thomas Demand’s work; our Spring 2015 issue featured a portfolio of his paper sculptures of cherry blossoms. His series The Dailies recreates quotidian objects and images: a coffee cup, a tray of cigarette butts. Only tiny flaws (pencil markings, tape) reveal them as constructions; otherwise his compositions are stripped of everything but their form. But paper isn’t just a blank canvas; it also carries meaning, even if these associations are subtle: it’s the medium of office workers, receipts, menus, greeting cards, origami, newspapers—and, of course, of The Paris Review. To accompany a selection of images from The Dailies, we talked to Demand about paper, literature, and the home.

INTERVIEWER

What does paper mean in your work?

THOMAS DEMAND

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At William Faulkner’s House

Photograph by Gary Bridgman. courtesy of wikimedia commons, licensed under CCO 2.5.

“That’s the one trouble with this country: everything, weather, all, hangs on too long,” William Faulkner wrote of his native Mississippi in his novel As I Lay Dying. “Like our rivers, our land: opaque, slow, violent; shaping and creating the life of man in its implacable and brooding image.” There came a day when, as a reader of Faulkner, I wanted to see what he was talking about. If the tendency of things in Mississippi was to hang on too long, as Faulkner claimed, maybe the populace and the landscape would be more or less the same as they’d been when he wrote those lines in 1930. The drive from Brooklyn to his house, Rowan Oak, in Oxford, Mississippi, was seventeen hours.

Five hours in, I made a pit stop at an abolitionist holy site: the federal armory at Harpers Ferry, West Virginia. John Brown’s raid on the armory, in October 1859, was one of the proximate causes of the Civil War. It enraged a plantation-owning class already frightened of northern agitators. “I want to free all the negroes in this state,” he said, referring to Virginia, where half a million people were enslaved. His plan was to seize guns and hand them out to men in the nearby fields, fomenting rebellion. With twenty-one followers, he stormed the armory and held parts of it for two days before U.S. marines flushed him out. All that’s left of the armory, mostly destroyed in the subsequent war, is the fire-engine house, which happened to be Brown’s final redoubt. He was captured there, and then taken to prison, tried, and hanged. I stood in the house; it’s the size of a two-car garage, dwarfed by the green, misty mountains that surround it. It drove home how tiny Brown’s force was, for it to have been able to fit inside such a small place—how inadequate to his stated task.

In Faulkner’s novella “The Bear,” John Brown appears without warning, in the middle of a stream of consciousness, and has a dialogue with God. He explains to Him that he, Brown, is unusual among men only in that he sees slavery for what it is, a “nightmare.” God asks, “Where are your Minutes, your Motions, your Parliamentary Procedures?” Brown responds, “I ain’t against them. They are all right I reckon for them that have the time.” Note that Faulkner makes God sound lame and officious, and gives Brown, an Ohioan, the locutions of a backwoods Mississippian. As a man of action, and as a person who acknowledges the true nature of things, Brown is a kind of honorary Southerner.

Faulkner called Lafayette County, his home, “the final blue and dying echo of the Appalachian mountains.” This is true. I followed the spine of the alpine chain southwest from the peaks of Harpers Ferry, where the weather was cool and pleasant, down through Tennessee, until the mountains dribbled away in the heat of northern Mississippi. Lafayette County was the last place where the hills were substantial. I drove an additional hour west to see the Delta, which was flat, consistent with its reputation. Then I turned around and drove to Oxford.

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Bedbugs

Photograph by Sophie Kemp.

I was trying on brassieres at Azaleas, the one next to the Ukrainian National Home on Second Avenue. All the brassieres looked terrible on me. This is because I have very small breasts (which is okay, because I have absolutely fabulous areolas). I picked out one that was a very pale blush pink, and paid seventy dollars for it. Then my phone rang. It was my roommate. There were bumps all over her body. “They are very itchy,” she said, and asked me if I had them, too. I did not. When I got back to our apartment in South Brooklyn, I stripped my sheets off my bed. There was a large brown bug sunbathing on my mattress. I poked it with a pen. It made a movement that seemed to say: Ouch. I scanned the bed: there was a constellation of ink-colored droplets. 

The bedbug summer was in 2019. I had just turned twenty-three. I was working at Vogue as an assistant. I was making very little money. I thought I was punk because I would often show up to work with a gin hangover, plug in a pair of headphones, and play YouTube videos where various artists performed industrial music. I thought I was punk because all of my clothes were from the garbage or had been gifted to me by people who also worked at Vogue (okay, I did buy stuff, like the bra). I thought I was punk because I was dating a former child jazz prodigy who lived in a DIY venue in Gowanus with no shower, no kitchen, but massive windows, hardwood floors. A posh nightclub had opened up next door and I sometimes went there to pee because I liked the soap. It all made me feel very cool even though in reality it was pathetic. My boyfriend slept on a twin-sized cot inside of what was functionally an electrical closet. He was the first person I called about the bedbugs. That evening he took me to the nightclub and bought me a cocktail. He had a freckle inside his eyelid and it looked like a wet pebble. I was totally in love with him.

It was not a good situation. The next morning, there was a large man in my apartment. It was the Fourth of July. The man was wearing a hazmat suit. He was going to do what he called a radical intervention re: the bugs. It involved a breakthrough in technology. He had come from New Jersey in a Sprinter van. He met us at an ATM on Newkirk Avenue so we could pay him in cash. My roommate tried to blame the whole thing on me. And why wouldn’t she? She had a nice boyfriend in medical school who liked to cook her dinner. I told her that she was insane, to make me pay for the whole thing. This was New York City. Nefarious individuals could have come into our home during the night and sprinkled the bedbugs on our sheets. We had to at least get the landlord involved. The landlord called us gullible idiots and then said she’d split it three ways because the exterminator we picked was too expensive. The man left our house. I still was not itchy. On the internet it said not everyone was allergic to bedbugs. I liked this fact: I was some kind of biological miracle? I did not want to spend any more time in the bedbug apartment so I went to my boyfriend’s DIY venue and poured a bottle of Bailey’s into an XL Dunkin’ Donuts iced coffee cup, and then we took the subway to Far Rockaway. 

After a few weeks, the bedbugs were physically gone, but I continued to see them everywhere. In my clothes. In my backpack, which I had taken to ironing at least twice a day just to be safe. I had given them to everyone at Vogue, probably. There was this thing where my boyfriend told me that a woman he used to fuck also had gotten bedbugs, not long before we started dating. I started flipping over the mattress on his cot to inspect it every time he went to the bathroom after sex. I would crawl around on the floor completely naked, aiming my iPhone flashlight at the ground, like a coal miner. I was subsisting on a lot of Cool Blue Gatorade and really cheap Thai food. Around this time I was attacked by a cat in a bodega. It became clear to me that my boyfriend was probably addicted to smoking marijuana. I had basically stopped letting people into my apartment, including myself. 

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Announcing Our Seventieth-Anniversary Issue

A few days before the Review’s new Spring issue went to print, the poet Rita Dove called me from her Charlottesville home to set a few facts straight. She and her husband, the German novelist Fred Viebahn, are night owls—emails from Dove often land around 9 A.M., just before bedtime—and they had just spent several long nights poring over her interview, which was conducted by Kevin Young and which spans Dove’s childhood in Akron, Ohio, where her father was the first Black chemist at the Goodyear Tire and Rubber Company; her adventures with the German language; her experience as poet laureate of the United States, between 1993 and 1995; and her love of ballroom dancing and of sewing, during which she might “find the solution for an enjambment” halfway through stitching a seam. Working their way through the conversation, she and Viebahn had confirmed or emended the kinds of small but crucial details that are also the material of Dove’s poems: the number of siblings in her father’s family, the color of the book that inspired the poem “Parsley,” the name of the German lettering in which her childhood copy of Friedrich Schiller’s Das Lied von der Glocke was printed (not Sütterlin, it transpired, but Fraktur). We talked through her corrections, and then Dove produced a final fact that caught me by surprise. Two decades ago, she said, she had been preparing to be interviewed for The Paris Review by George Plimpton. He’d called to set a date for their first conversation, and the next day, she said, came the shocking news that he had died. 

This spring rings in the magazine’s seventieth anniversary, and twenty years since the loss of its visionary longtime editor. To mark the occasion, issue no. 243 has a cover created for the Review by Peter Doig—inspired, he told us, by a birthday card he made for his son Locker—and includes not two but three Writers at Work interviews: with Dove, with the American short story writer and novelist Mary Gaitskill, and with Olga Tokarczuk, winner of the 2018 Nobel Prize in Literature. In many ways, though, this issue is consistent with the others in our long history, featuring the best prose, poetry, and art that we could muster, by writers and artists you’ve heard of and some you haven’t. You’ll find prose by Marie NDiaye, Elisa Gonzalez, Rivers Solomon, Daniel Mason, and Elaine Feeney; poems by Nam Le and D. S. Marriott; and artworks including a portfolio by Tabboo!, featuring paintings inspired by words he associates with the magazine (including “high falutin,” “bon vivant,” and “wreaking havoc”). We are grateful to everyone who has appeared in our pages, and to all the people who have shepherded the Review over the past seven decades, so that this one can land in your mailbox as the season turns.

 

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Ordinary Notes

Note 19

Letters to the Editor: ‘Slips of the Tongue,’ Week after Week 

April 19, 1967

Courtesy of Christina Sharpe.

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Porn

Ryan McGinley, Fawn (Fuchsia), 2012. From Waris Ahluwalia’s portfolio in issue no. 201 (Summer 2012).

Well into my thirties, I was lucky enough to have friends with whom I could talk about anything. Anything—except the subjects of porn and masturbation. It had always been that way for me, outside of a few explosive arguments with ex-partners. The rest of the time we didn’t talk about it because we didn’t need to, because everyone was cool with it—or so our silence seemed to be saying. Except I was fairly clear that beneath this facade, I wasn’t cool with it—I’d almost never had conversations about porn, and because I hadn’t worked out my feelings and thoughts, I felt terrified to even begin. This seemed to indicate that I needed to bite the bullet and talk about it, and I imagined that other people probably did too.

So, over the course of 2020, when many of us were at home, I began to speak with friends and acquaintances on the topic of porn, recording and transcribing our conversations. Initially, I thought that if I published the chats at all, I would somehow incorporate them into essays—a safer and more literary and urbane strategy. Over time, I came to understand that these were conversations that needed to be presented as they were—in part to convince other people of the benefits of speaking about porn, and to give an insight into what those conversations could actually look like in practice. What follows are extracts from three of the nineteen porn chats I had.

 

ONE

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Art Out of Time: Three Reviews

Bernadette Corporation, Untitled, 2023. Courtesy of Greene Naftali.

This week, three reviews on damaged art, art out of time, art of our time, and enjoying the void. 

We’re in a particular phase of “pandemic art” now—I don’t mean work that portrays the spread of disease (I’ll leave The Last of Us to another writer) but the work that artists made while they lived in hibernation: writers at their desks with no social obligations to draw them out into the city, artists in their studios with the endless horizon of hours receding. Now they are showing what they made. Tara Donovan’s stunning “screen drawings,” on view last month at Pace Gallery in Chelsea, are a project begun in that period. The “drawings” are made from typical aluminum insect screens, cut and tweezed into intricate geometric patterns—layered lines, swirls, and cutouts—that shimmer and morph as you walk through the gallery. They are subtle optical illusions cut from the humblest everyday material. Their connection to the period of “high quarantine” strikes me immediately: time spent looking out the window onto silent streets, time spent feeling intensely aware of the need for protection. The discourse around “screen time” is of course fatiguing, but Donovan’s drawings for me reinvigorate the multiple meanings of the phrase. Before we came to understand the screen as the portal that brought the outside infinity into our personal space, screens were more often for keeping something out: a fugitive look, a bothersome fly. (I saw Donovan’s work around the same time as I became aware of an interesting but disquieting TikTok trend of overlaying TV clips with ASMR videos, in case you didn’t have enough stimulation.) What else do they continue to separate from us? A special quality of Donovan’s manipulations is that no photo of them can do them justice—they look good in two dimensions, but in person they are almost hypnotic in their immersive power. They’re hardly capturable as digital artifacts, and so much the better.

—David S. Wallace, contributing editor

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