In James, Percival Everett’s smart, funny, brutal retelling of The Adventures of Huckleberry Finn, Everett takes readers deeper into the capricious yet certain violence of American slavery, giving the characters a life that seems to lift off the page.
Mary Robison on the Art of Fiction: “The first thing they’d say was ‘This is a nice story—where’s your novel?’ And I would just lie my head off. ‘Oh, it’s at home. It’s almost there!’”
Elaine Scarry on the Art of Nonfiction: “A lot of my troubles in life have come from taking literally what I should have understood as figurative.”
Prose by Peter Cornell, Rodolfo Enrique Fogwill, Renee Gladman, Nancy Lemann, Banu Mushtaq, K Patrick, and Anne Serre.
Jhumpa Lahiri on the Art of Fiction: “My question is, What makes a language yours, or mine?”
Alice Notley on the Art of Poetry: “Writing is not therapy. That’s the last thing it is. I still have my grief.”
Prose by Elijah Bailey, Julien Columeau, Joanna Kavenna, Samanta Schweblin, Eliot Weinberger, and Joy Williams.
Poetry by Gbenga Adesina, Elisa Gabbert, Jessica Laser, Maureen N. McLane, Mary Ruefle, Julian Talamantez Brolaski, and Matthew Zapruder.
Paris Review Spring 2024 — The new issue features interviews with Jhumpa Lahiri and Alice Notley, prose by Joy Williams and Eliot Weinberger, poetry by Mary Ruefle and Jessica Laser, art by Chris Oh and Farah Al Qasimi, two covers by Nicolas Party, and more…
Jhumpa Lahiri on the Art of Fiction: “My question is, What makes a language yours, or mine?”
Alice Notley on the Art of Poetry: “Writing is not therapy. That’s the last thing it is. I still have my grief.”
Prose by Elijah Bailey, Julien Columeau, Joanna Kavenna, Samanta Schweblin, Eliot Weinberger, and Joy Williams.
Poetry by Gbenga Adesina, Elisa Gabbert, Jessica Laser, Maureen N. McLane, Mary Ruefle, Julian Talamantez Brolaski, and Matthew Zapruder.
The Supreme Court must decide if it will honor the original meaning of the Fourteenth Amendment and bar Donald Trump from holding public office or trash the constitutional defense of democracy against insurrections.
In Dürer’s Lost Masterpiece, Ulinka Rublack traces the global connections of the merchants who were the creative agents of the European art market in the sixteenth and early seventeenth centuries.
Dürer’s Lost Masterpiece: Art and Society at the Dawn of a Global World by Ulinka Rublack
In 2017, the Brazilian journalist Eliane Brum moved from São Paulo to a small city in the Amazon. Her new book vividly uncovers how the rainforest is illegally seized and destroyed.
Banzeiro Òkòtó: The Amazon as the Center of the World by Eliane Brum, translated from the Portuguese by Diane Whitty
Spies: The Epic Intelligence War Between East and West by Calder Walton
Spying Through a Glass Darkly: The Ethics of Espionage and Counter-Intelligence by Cécile Fabre
On October 7, as Hamas fighters roared into southern Israel from Gaza, bringing terror and death to anyone they encountered—Israeli soldiers, Bedouins, young people dancing and getting high together, kibbutzniks scooping up small children into desperate arms—I was sleeping in a comfortable hotel room in Georgia. All around me in the sultry darkness of a beautiful resort, many of the US intelligence community’s finest minds were also slumbering. We awoke with the expectation that we would be addressed by CIA director William Burns at the opening of the Cipher Brief’s annual Threat Conference, a yearly gathering of national security professionals from the private and public sectors, plus a few academics and journalists.
The New York Review of Books (December 28, 2023) – The latest issue featuresBen Tarnoff on Elon Musk, Julian Bell on Peter Paul Rubens, Fintan O’Toole on the American gerontocracy, Anjum Hasan on recent Sri Lankan fiction, Matthew Desmond on America’s Covid-era experiment with a social safety net, Francine Prose on a vampiric celluloid Pinochet, James Gleick on the science of free will, Frances Wilson on Tove Jansson and the Moomintrolls, Álvaro Enrique on indigenous Americans in Europe, Katie Trumpener on Alexander Kluge, two poems by Jack Underwood, and more.
Nobody was holding a gun to your head when you started reading this. You made a choice. Surely it felt that way, at least. A sense of agency—of control over our actions, of continual decision-making—is part of the experience of being human, moment by moment and day by day. True, we sometimes just drift, like robots or zombies, but at other times we gird our loins and exert our will. David Hume defined will nearly three centuries ago as “the internal impression we feel and are conscious of, when we knowingly give rise to any new motion of our body, or new perception of our mind.” The feeling was universal then and it’s universal now.
Paris Review Winter 2023 — The new issue features Louise Glück on the Art of Poetry – “You want a poem to register in every mind the way it did in yours. Then you discover this never happens.”; Yu Hua on the Art of Fiction: “If I’d taken another two or three years to start writing, I’d still be a dentist.”; Prose by Ananda Devi, Fiona McFarlane, and Sean Thor Conroe and more…
The New York Review of Books (December 21, 2023 Issue) – The latest issue features—the Holiday Issue—with Susan Tallman on William Kentridge, David Shulman on violence in the West Bank, Neal Ascherson on Timothy Garton Ash’s Europe, Elaine Blair on what we talk about when we talk about porn, Rebecca Giggs on the return of dinosaurs, Kathryn Hughes on Jane Austen’s fashion, Mark O’Connell on Werner Herzog, Linda Greenhouse on Covid in the courts, Gabriel Winslow-Yost on Bill Watterson’s first book since Calvin and Hobbes, John Banville on liberalism after Hobbes, poems by Lindsay Turner and Greg Delanty, and much more.
Imagine a festive dinner near Topeka during the fall of 1879 to celebrate the twenty-fifth anniversary of the founding of the Kansas Territory, with Walt Whitman as a featured speaker. Partially paralyzed by a stroke and described as “reckless and vulgar” by The New York Times—Leaves of Grass was soon to be banned for indecency by the Boston district attorney—Whitman, who had just turned sixty, may well have wondered why he, instead of some respectable graybeard like Emerson, was invited. Was it because he had defended John Brown, the hero of free-soil Kansas? Or was it hoped that a visit might inspire something like his 1871 “Song of the Exposition,” in which Whitman admonished the Muse:
Migrate from Greece and Ionia, Cross out please those immensely overpaid accounts, That matter of Troy and Achilles’ wrath… For know a better, fresher, busier sphere, a wide, untried domain awaits, demands you.
Hatzegopteryx, a giant pterosaur that lived around 66 million years ago on a subtropical island in what is now Romania; from Prehistoric Planet
Nature documentary has of late become a haunted genre. Not so Prehistoric Planet, which revels in portraying that which is already dead and gone, no longer our responsibility.
One early myth about the dinosaurs was that they would return. In 1830 Charles Lyell—earth scientist, Scot—gazed into the far future and posited as much in his Principles of Geology, arguing that since the planet’s climate was cyclical (or so he believed), vanished creatures could yet be revived, along with their habitats, when the right conditions came back around: “The huge iguanodon might reappear in the woods, and the ichthyosaur in the sea, while the pterodactyl might flit again through umbrageous groves of tree-ferns.” As to whether people would get to witness the spectacle of this resurrected bestiary—well, if Lyell was never drawn to that question, it was because the answer was not up for debate. His was an age in which the prospect of Earth bereft of human occupancy was too abominable, too sacrilegious, to contemplate.
The New York Review of Books (December 7, 2023 Issue) – The latest featuresA Fallen Artist in Mao’s China – Ha Jin’s The Woman Back from Moscow; Gut Instincts – Recent books about the importance of the microbiome have driven many patients to fixate on the idea of “gut health.” Are they right to do so?; Prelude to Empire – Abdulrazak Gurnah’s novels, whether set in German East Africa or the United Kingdom, never cease to demonstrate how the minutiae of people’s lives have been affected by European colonialism…
Ha Jin’s The Woman Back from Moscow, a fictionalized account of the life of the actress Sun Weishi, depicts the hypocrisy of the Communist elites and the fate of those who embraced new ideals after the revolution.
The Woman Back from Moscow: In Pursuit of Beauty by Ha Jin
This book will be denounced in Beijing. Ha Jin’s The Woman Back from Moscow is a novel based on the life of Sun Weishi, an adopted daughter of Chinese premier Zhou Enlai, whose brilliant mind and intensive study in Moscow of the Stanislavski acting method brought her to the pinnacle of China’s theatrical world during the Mao years. Her beauty and effervescent personality attracted powerful men—not only Zhou, who doted on her, but also Lin Biao, the Chinese Communist Party’s leading general, who divorced his wife in order to propose marriage to her (unsuccessfully), and Mao, who apparently raped her during a long rail trip. She had several other suitors and eventually married the film star Jin Shan.
Right before their colonoscopies, with the stress of a bowel prep still rumbling in their bellies and a mental image of the procedure beginning to sharpen, some patients will ask me why I chose a career in gastroenterology: “What made you interested in this?” The reason I usually give is that you could go all your life without a heart problem, or a lung problem, or a kidney problem, but not without a bit of nausea, constipation, or abdominal pain. The work of digestion is part of the rhythm of our daily lives, I tell them, which helps my work feel similarly immediate.
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