Writers at Work Paris Review Interviews Book 9
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I found the interviews to be peculiarly enlightening since I enjoy writing. Each has his ain philosophy, reason for writing, what defines good writing and then on.
Thank you to this book I got read about som
The Paris Review interviewed many authors for the last sixty-eighty years. This is the second edition which was published in the fifties. It includes E.Yard. Forster (the oldest author interviewed), Dorothy Parker, James Thurber, William Faulkner, Georges Simenon, Truman Capote equally well every bit many others.I found the interviews to be particularly enlightening since I savour writing. Each has his own philosophy, reason for writing, what defines proficient writing and so on.
Cheers to this book I got read almost some of my favorite authors opinions and what makes them so good and also discovered a few authors whose works I now want to read.
...more Showtime, the interviewers are writers or critics who know and appreciate the piece of work of their interviewees.
2d, the interviews are focused on the authors work, not their politics, family, religion or scandals. The series is accurately titled "Writers At Piece of work"
Third, these are not extemporaneous transcripts. They are edited and polished pieces. The subject gets the chance to review, annotate and clarify the responses.
These are the best interviews of writers. The success comes from several factors.First, the interviewers are writers or critics who know and appreciate the work of their interviewees.
Second, the interviews are focused on the authors work, not their politics, family, faith or scandals. The series is accurately titled "Writers At Work"
Tertiary, these are not ad-lib transcripts. They are edited and polished pieces. The discipline gets the chance to review, comment and analyze the responses. These are not "gotcha" interviews. they are honest attempts to go some insight into how writers piece of work.
For all of those reasons, The Paris Review has washed in depth interviews with almost all of the great Post-WW2 writers. This first collection is from the 1950s.
One way the authors intermission down is between the applied and the theoretical. I am partial to the practical. Faulkner is asked "Some people say they can't understand your writing even after they read information technology two or three times. What approach would you suggest for them?" He answered, " Read it iv times.".
At the other extreme, the French author, Francois Mauriac, explains "the crisis of the novel, in my opinion, is of a metaphysical nature and is connected with a certain conception of man". That ways less than it sounds like.
What I enjoy the near is listening to smart and often witty people talk about things they know.
Dorothy Parker; "There's a hell of difference between a wisecracking and wit. Wit has truth in it. Wisecracking is but calisthenics with words."
William Faulkner; "If a writer has to rob his mother, he volition not hesitate; the " Ode on a Grecian Urn" is worth any number of old ladies."
Frank O'Conner describing James Joyce; "He had this queer, ax-like face with this enormous jaw, the biggest jaw I have ever seen on a human existence."
Robert Penn Warner, on a thing I never noticed; "There's no time in Hemingway, there are only moments in themselves, moments of action. In that location are no parents and no children...you never see a small child in Hemingway. Yous get death in childbirth, but you never run across a child"
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Some of more successful than others, but I believe this has more to do with a particular author's reticence than with the interviewers' methods. Even so, I gleaned something from each of these interviews, fifty-fifty the ones with authors whose work I accept not read--and
I have no thought how interviews with writers were conducted earlier The Paris Review debuted in 1953, simply the interviews in this volume set the standard for how to talk to writers about their ideas, their creative process, and their piece of work.Some of more successful than others, merely I believe this has more to do with a item writer's reticence than with the interviewers' methods. Even so, I gleaned something from each of these interviews, even the ones with authors whose work I have not read--and there are lot of those in this book. I hadn't even heard of a few of them (Joyce Cary and Françoise Sagan), which is either because they are not as widely read at present as they were sixty years ago, or because I merely oasis't discovered them yet.
In whatsoever case, an enjoyable collection.
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Hit or miss, especially given that almost of the authors are, let'due south say, not exactly first-rate (or even third-rate), but the Capote interview is pretty good, and the Faulkner interview is AMAZING. Where to even begin:
Watching a bird makes me feel skilful. You know that if I were reincarnated, I'd desire to come dorsum every bit a buzzard.You should approach Joyce'south Ulysses equally the illiterate Baptist preacher approaches the Erstwhile Testament: with faith.
Everyone talked about Freud when I lived in New Orleans, just I
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Watching a bird makes me feel good. Y'all know that if I were reincarnated, I'd want to come dorsum as a buzzard.You should arroyo Joyce's Ulysses as the illiterate Baptist preacher approaches the Old Testament: with faith.
Everyone talked virtually Freud when I lived in New Orleans, just I have never read him. Neither did Shakespeare. I doubt if Melville did either.
The writer's only responsibility is to his fine art . . . Everything goes by the board: honor, pride, decency, security, happiness, all to get the book written. If a writer has to rob his mother, he will not hesitate: the "Ode to a Grecian Urn" is worth any number of sometime ladies.
The best task that was always offered to me was to become a landlord in a brothel. In my stance information technology's the perfect milieu for an artist to work in.
People actually are afraid to find out just how much hardship and poverty they can stand. They are agape to find out how tough they are. Cypher can destroy the expert writer. The simply matter that can alter the skilful writer is expiry. Practiced ones don't accept fourth dimension to bother with success or getting rich. Success is feminine and similar a woman; if you cringe before her, she will override you. So the way to treat her is to show her the dorsum of your manus. Then possibly she will do the itch.
I would like to write a screenplay for Orwell's 1984. I accept an idea for an ending which would prove the thesis I'm ever hammering at: that man is indestructible considering of his simple will to freedom.
I'chiliad a failed poet. Maybe every novelist wants to write poesy beginning, finds he can't, and and then tries the brusk story, which is the most demanding form subsequently poetry. And, failing at that, only then does he accept upward novel writing.
[Is there any possible formula to follow in guild to exist a skilful novelist?] Faulkner: 99% talent, 99% field of study, and 99% work.
[Some people say they can't empathize your writing, fifty-fifty later they read it two or three times. What approach would you suggest for them?] Faulkner: Read it four times.
#35
Satisfying Quick Reads for Short Attention Spans
A collection of 50 years of interviews with famous authors from The Paris Review, famous for these golden interviews. The writing is conversational because these were really conversations, and the question and answer format makes it easy to come to a stopping place.
Cowley was one of the dozens of creative literary and artistic figures who migrated during the 1920s to Paris and congregated in Montp
Malcolm Cowley was an American novelist, poet, literary critic, and announcer. Cowley is too recognized as one of the major literary historians of the twentieth century, and his Exile's Render, is i of the most definitive and widely read chronicles of the 1920s.Cowley was ane of the dozens of creative literary and artistic figures who migrated during the 1920s to Paris and congregated in Montparnasse. He lived in France for three years, where he worked with notables such as Ernest Hemingway, Ezra Pound, Eastward. E. Cummings and others. He is usually regarded every bit representative of America's Lost Generation.
As a consulting editor for Viking Press, Cowley notably championed the work and advanced the careers of the postal service-World State of war I writers who sundered tradition and fostered a new era in American literature. He was the ane who rescued writers such as William Faulkner and F. Scott Fitzgerald from possible early on oblivion and who discovered John Cheever and goaded him to write. Subsequently Cowley championed such uncommon writers as Jack Kerouac and Ken Kesey
His extraordinarily artistic and prolific writing career spanned most 70 years, and he continued to produce essays, reviews and books well into his 80'due south.
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author smugly passes his final judgment and confers on existing attitudes the lifeless aspect of plaster-cast statues in a museum.
He recounts the past as though the characters knew what was going to happen next."
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