The Plague was not an easy book to write. Camus was ill when he began it, then trapped by the borders keeping him in Nazi-occupied France. Aside from these difficulties, there was the pressure of authentically speaking up about the violence of World War II without falling into the nationalist heroics he deplored. Like with most problems in art, the solution was to address it directly: in one of the most revelatory sections of the novel, the character Tarrou blurs the line between fancy rhetoric and violence. “I’ve heard so much reasoning that almost turned my head,” he says, “and which had turned enough other heads to make them consent to killing, and I understood that all human sorrow came from not keeping language clear.”

All human sorrow! The boldness of this claim hints at how much Camus believed in words. The Plague is full of people who struggle to clarify their language and strain to make it more precise: Grand, Rambert, Paneloux, and even Rieux all try—and often fail—to express their deepest feelings through words. But in writing, Camus manages to develop a style that encapsulates feeling within the sentence structures themselves—a kind of syntax that captures deep emotion in plain speech.

For example, the first time Rambert tries to get out of the city, the smugglers who might help him escape don’t show up, and he despairs at the thought of having to retrace his steps:

At that moment, in the night spanned by fugitive ambulances, he realized, as he would come to tell Doctor Rieux, that this whole time he had somehow forgotten his wife by putting all his energies into searching for a gap in the walls that separated him from her.

The 'fiction based on real events' is flawed

Move over mid-century modern, French Art Deco is the interiors trend to watch

The women in Danielle Orchard’s paintings are usually undressed, or only partially clothed. They might be smoking a cigarette in the bath, or staring at themselves in a mirror, or eating from a bowl of popcorn in bed. Orchard’s settings are often mundane—a bedroom, a boudoir, a kitchen—but these environments are striking in their angularity and irregular perspectives, the paintings’ compositions at once calling to mind the art historical tradition of the female nude and unsettling it. Her painting Lint graces the cover of the Fall issue of the Review and depicts a woman in stockings and no knickers. We talked about Balthus, working with life models, outsize objects, how she made Lint, and the notable absence of pubic hair from the painting.

INTERVIEWER

When did you start gravitating toward the female nude?

This fall marks a transition on our editorial team, as Vijay Seshadri is bidding the Review farewell—at least as our poetry editor, a role he has occupied since 2019. He will be greatly missed. With our forthcoming Winter issue, we will welcome to the role Srikanth “Chicu” Reddy, a professor at the University of Chicago who has served as a guest editor of Poetry magazine and is the author of three books of poetry, most recently Underworld Lit. We are deeply grateful to Vijay for introducing us to the work of so many remarkable poets over the last few years, and for being a marvelous colleague and a true friend to the Review.

The worst thing about choosing poems for The Paris Review is having to say no. The magazine receives many submissions, and many of those include strong poems that deserve to be in its pages but can’t be accommodated. Turning down poems is probably even worse for a poetry editor who is also a practicing poet and knows how being turned down feels. Guilt, misgivings, second-guessing, paralysis about naysaying, and avoidant behavior are the by-products of the process. And they should be. As a writer, if you don’t identify with the writers who are sending you work, you’re probably hardening yourself against yourself. 

Other than that, being The Paris Review’s poetry editor for the past thirteen issues has been a terrific experience. Looking back over the more than sixty years since I washed up on American shores, I’ve come to recognize how much literature was the means by which I socialized myself into this country and its civilization. Choosing poems for the magazine and mulling over the choices I made gave me a chance to make that socialization concrete in my mind. I was a descriptive rather than a prescriptive editor, largely because that unusual process of socialization had left me with a vivid sense of the imagined republic of American letters. At least as an editor, I saw my obligations as being almost as much civic as they were aesthetic, requiring me to acknowledge the entire republic rather than stake out a claim in one of its territories. I honored, I think, the multiplicity of American poetry (including translations into American English)—which is easy to do, because there is excellent work across the range of American literary allegiances. 

There has been something deeply satisfying about engaging with this country as an editor. I was most gratified when I chose poems by poets whom I felt were unfairly neglected or underappreciated. I had the chance to publish long poems, which have a harder time finding homes. I had the chance to experience over and over that little click in the mind, with its attendant rush of endorphins—very much like the click in the mind that comes from finishing a piece of writing you like—on coming across a poem that is undeniable. Maybe my only regret is that I came to the job too late to do full justice to my experience of the poetry of my time, and to some of my deepest enthusiasms. Very early on in my tenure, for example, I wrote to Allen Grossman’s widow, Judith, begging for unpublished Grossman poems. She told me there were none. That was a bitter moment. On the flip side, though, early on I also wrote to Kamau Brathwaite asking for work. The last poem he published before his death was in the pages of The Paris Review.

The Power Plant, a leading contemporary art space on Toronto’s waterfront, has lost nearly its entire board of directors, with 24 out of 27 of its members resigning en masse earlier this week. The members who resigned have done so due to objections to the institution’s management by an affiliated nonprofit organization, the Harbourfront Centre, and have called for the institution to be held “accountable.”

The news, which was first reported by the Art Newspaper, comes less than a month after the Power Plant’s director and artistic director, Gaëtane Verna, departed to lead the Wexner Center for the Arts at the Ohio State University. Verna had been director at the Power Plant for ten years.

In a resignation letter that has circulated on social media, 15 board members, including the Indigenous artist Maria Hupfield (Anishinaabe-kwe of Wasauksing First Nation) and actor Richard Lee, detailed their claims, specifically against the Harbourfront Centre, a separate nonprofit that appoints around half of the Power Plant’s board and manages the site of the contemporary art space’s current location.

The letter reads, “Due to Harbourfront’s actions and our current impasse, we have concluded we can no longer fulfill our commitments and duties owed to the Power Plant’s stakeholders, including government stakeholders, funders, artists, the arts community at large and individual supporters of the Power Plant. The independent directors of the Power Plant have no choice but to resign because of the actions taken by Harbourfront.”

According to the letter by the resigning board members, on June 2, shortly after the Power Plant hosted its 35th-anniversary gala, the Harbourfront Centre sought to terminate 12 of the Power Plant’s board members “and replace them with its own slate of directors from its own board or staff. This decision was made without consulting the Power Plant, nor was any compelling rationale provided.”

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