Skip to main content

Redux: Each Train Rips

Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by signing up for the Redux newsletter.

This week at The Paris Review, we’re traveling via plane, bus, and foot. Read on for Jan Morris’s Art of the Essay interview, Anuk Arudpragasam’s short story “So Many Different Worlds,” Sarah Green’s poem “Vortex, Amtrak,” W. S. Merwin’s essay “Flight Home,” and a portfolio of art by Paige Jiyoung Moon.

If you enjoy these free interviews, stories, and poems, why not subscribe to The Paris Review? You’ll get four new issues of the quarterly delivered straight to your door.

Interview
Jan Morris, The Art of the Essay No. 2
Issue no. 143 (Summer 1997)

I’m not the sort of writer who tries to tell other people what they are going to get out of the city. I don’t consider my books travel books. I don’t like travel books, as I said before. I don’t believe in them as a genre of literature. Every city I describe is really only a description of me looking at the city or responding to it.

ZION AND US (DETAIL), 2019, ACRYLIC ON PANEL, 11 X 14″.

Fiction
So Many Different Worlds
By Anuk Arudpragasam
Issue no. 237 (Summer 2021)

The bus was making its way in starts and stops, accelerating and braking as the driver tried, ruthlessly, to overtake on the crowded roads, and Ganesan was gazing out through the half-open window, at pedestrians waiting impatiently at traffic lights and bus stops, at passengers in other vehicles staring silently into their phones or out at the monotonous evening. The light hadn’t yet begun to fade but the day was coming to its end, the city’s commuters all lost in the long, mindless journey from place of work to place of sleep, their last remaining obligation to the outside world.

SUBWAY 2015, 2015, ACRYLIC ON CANVAS, 11 X 14″.

Poetry
Vortex, Amtrak
By Sarah Green
Issue no. 231 (Winter 2019)

Bright scab of track.
Bright stitch each train
rips out. In negative

degrees, metal cowers
as if a god had threatened
to curse it,

and did.

OAKHURST LODGE, 2018, ACRYLIC ON CANVAS, 12 X 16″.

Nonfiction
Flight Home
By W. S. Merwin
Issue no. 17 (Autumn-Winter 1957)

Part of the confusion, once the desire to go back got off the chart, arose from the suspicion that this was simply, at least in part, the first shock of maturity: a realization that home, where you grew up and belonged—belonged with and without your own volition—no longer exists. The desire to return to it, the moment you know it no longer exists.

LONELY PADDLE BOARDER, 2020, ACRYLIC ON PANEL, 18 X 24″.

Art
New and Recent Work
By Paige Jiyoung Moon, with an introduction by Charlotte Strick
Issue no. 236 (Spring 2021)

 

If you enjoyed the above, don’t forget to subscribe! In addition to four print issues per year, you’ll also receive complete digital access to our sixty-eight years’ worth of archives.


from The Paris Review https://ift.tt/31iUXE0
Labels:

Comments

Post a Comment

Popular posts from this blog

The Sphere

Photograph by Elena Saavedra Buckley. Once when I was about twelve I was walking down the dead-end road in Albuquerque where I grew up, around twilight with a friend. Far beyond the end of the road was a mountain range, and at that time of evening it flattened into a matte indigo wash, like a mural. While kicking down the asphalt we saw a small bright light appear at the top of the peaks, near where we knew radio towers to occasionally emit flashes of red. But this glare, blinding and colorless, grew at an alarming rate. It looked like a single floodlight and then a tight swarm beginning to leak over the edge of the summit. My friend and I became frightened, and as the light poured from the crest, our murmurs turned into screams. We stood there, clutching our heads, screaming. I knew this was the thing that was going to come and get me. It was finally going to show me the horrifying wiring that lay just behind the visible universe and that was inside of me too. And then, a couple se...
Post a Comment
Read more

The Rejection Plot

Print from Trouble , by Bruce Charlesworth, a portfolio which appeared in The Paris Review in the magazine’s Fall 1985 issue. Rejection may be universal, but as plots go, it’s second-rate—all buildup and no closure, an inherent letdown. Stories are usually defined by progress: the development of events toward their conclusions, characters toward their fates, questions toward understanding, themes toward fulfillment. But unlike marriage, murder, and war, rejection offers no obstacles to surmount, milestones to mark, rituals to observe. If a plot point is a shift in a state of affairs—the meeting of a long-lost twin, the fateful red stain on a handkerchief—rejection offers none; what was true before is true after. Nothing happens, no one is materially harmed, and the rejected party loses nothing but the cherished prospect of something they never had to begin with. If the romance plot sets up an enticing question—Will they or won’t they? — the rejection plot spoils everything upfront:...
Post a Comment
Read more

The Private Life: On James Baldwin

JAMES BALDWIN IN HYDE PARK, LONDON. PHOTOGRAPH BY ALLAN WARREN. Via Wikimedia Commons , licensed under CC BY-SA 3.0 .   In his review of James Baldwin’s third novel, Another Country , Lionel Trilling asked: “How, in the extravagant publicness in which Mr. Baldwin lives, is he to find the inwardness which we take to be the condition of truth in the writer?” But Baldwin’s sense of inwardness had been nourished as much as it had been damaged by the excitement and danger that came from what was public and urgent. Go Tell It on the Mountain and Giovanni’s Room dramatized the conflict between a longing for a private life, even a spiritual life, and the ways in which history and politics intrude most insidiously into the very rooms we try hardest to shut them out of. Baldwin had, early in his career, elements of what T. S. Eliot attributed to Henry James, “a mind so fine that it could not be penetrated by an idea.” The rest of the time, however, he did not have this luxury, as pub...
Post a Comment
Read more