Please upgrade your browser to make full use of twiends.   chrome   firefox   ie   safari  
Create your own wall, sign in free!
The Paris Review
The fade-out fades out, “Stop and Frisk: The Opera,” and other news
“Because we live among so many unspoken boundaries that sometimes it’s a relief to have such an explicit one.”
“The actual turning point in my life was the voting of the Bollingen Prize to Ezra Pound.” —Karl Shapiro
“The only book in Sid and Sarah’s little house was the Bible, which they never read.” —Terry Southern #fiction
“Mary’s heart was a watermelon that had been cut open, because the drops of blood were black like watermelon seeds.”
“Specific hours of my childhood day would be tonally defined by what was on television.” —Chris Ware
“If you cannot tell people of something they have not seen, it is hardly worthwhile to write at all.” —D. H. Lawrence
Don’t miss the final installment of Rachel Cusk’s novel, “Outline.” Subscribe now to receive our Fall issue:
Before Rivka Galchen goes for Literary Death Match gold @SymphonySpace on 9/18, read this @parisreview interview:
Retweeted by The Paris Review
“Only a novelist can know how neurotic, devious, underhanded a novelist can be.” —Walker Percy
“Writing is the product of a deeply disturbed psyche, and by no means therapeutic.” —Edna O’Brien
M. Z. Ribalow, from “Vampire.” #Poetry in issue 64.
Terry Southern and George Plimpton on interviewing Henry Green and censorship:
“I read in order to write. I read out of obsession with writing.” —Cynthia Ozick
“I learned as a divorce lawyer the importance of learning when to end the dialogue, when to cut the scene.”
“Even Beckett, her god, had been destroyed by meaninglessness.” —Rachel Cusk #fiction
“I came to feel that punctuation was like nailing the words onto the page.” —W. S. Merwin
“It would be nice if a Robert Frost or a William Faulkner were regularly produced at twenty-year intervals.”
“The online world has more in common with medieval Norfolk than you might think.”
“If you didn’t work as hard as the guy who runs a gas station then you had no right to hope for achievement.”
“I’ve missed some very spectacular shots because I was needed during a bad storm or heavy fishing.” Corey Arnold, “Storm, Gulf of Alaska,” from “Fish-Work.” #Photography in issue 187.
“If the writer is really candid then it’s good autobiography, and if he’s not, then it’s nothing at all.”
Sherwood Anderson; Clyde, Ohio; and the mythologies of small towns:
“My earliest poems were a way of talking to somebody. I suppose to myself.” —Philip Levine
“I became a writer because of frustration, the way I think many writers do.” —Doris Lessing
“The first sign is a need to talk to any stranger, until you see their eyes widen with fear and apprehension.”
“A writer works from the material she has, but it comes from the unconscious.” —Rosamond Lehmann
“It would be impossible to find an actor who could play Ezra Pound.” —James Laughlin
“Rather than constructing Dyson Spheres, advanced civilizations are more likely to spend their time getting high.”
“Nobody can really know the future. But few could imagine it better than Stanisław Lem.”
“I don’t think you can write a poem for more than two hours.” —Philip Larkin
“A poem has secrets that the poet knows nothing of.” —Stanley Kunitz
This week’s staff picks: Ben Wheatley’s latest film, Margery Kempe on Twitter, and experiments with the longue durée
“Sid and Sarah were of a line of unimaginative, one-acre farmers who very often had not owned the land they worked, and whose life’s spring was less connected to the proverbial love of the land than twisted somehow around a vague acceptance of work, God’s will and the hopeless, unsurprising emptines
“When you have finished reading, you should still be able to remember the beginning.” —Milan Kundera
The future according to writer Stanisław Lem:
“The temptation to become the prophet is very great and very dangerous—it has to be resisted.” —Arthur Koestler
“It cannot be denied: I am going mad.” @SadieStein on the perils of working from home and “going strange”:
Peter Schjeldahl, from “Alcohol.” #Poetry in issue 42.
“When I served my time, I used to jump rope, go for a jog, anything to forget the time.” —Atticus Lish #fiction
“You did give me a rejection slip, I must say it wasn’t as nice as the one I got from The Atlantic.” —William Kennedy
“People who write about dark things are not necessarily dark themselves.” —Lynne Tillman
We have two free front-row tickets to Tuesday’s @LIVEfromtheNYPL event with Ben Lerner. Retweet by three p.m. EST today for a chance to win!
All American fiction is young-adult fiction, a million-word novel, and other news
“Cheever and I sat up front in the car, excluded from Donleavy’s conversation about the evils of aspirin.” —Irving
“Man is driven by evil instincts that are often stronger than moral laws.” —Eugene Ionesco
“Dialogue in fiction is always written to be read in silence. The page is the limit.” —Guillermo Cabrera Infante
From utility to poetry, Steve Greene’s supply catalog-infused art:
John Hollander on Auden: “A poet who could at once contain and indulge that basic impulse to play with words.”