May 27, 2022 The Review’s Review On the Far Side of Belmullet By Rebecca Bengal Roger, “Fallmore Granite Stone Circle.” Licensed under CC BY-SA 2.0. En route to a crime scene down back roads in rural Ireland, Sergeant Jackie Noonan briefly flips down her car’s sun visor to check out the sky. “That is some incarnation of sun,” Noonan announces to her fellow officer Pronsius, and though it falls over a landscape where cows “sit down like shelves of rock in the middle of the fields,” she deems it “equatorial.” “You know where Guadalajara is, Pronsius?” “Is it the far side of Belmullet?” Technically, she concedes, it is. A little later when she asks him, “You ever been anywhere exotic, Pronsius?” he replies, “I been the far side of Belmullet.” The answer satisfies Noonan, who’d prefer to never cross another time zone or pass through another metal detector again—who considers but never splurges on the expensive coffee in the grocery. She will never be exactly content where she is, but would rather find ways to picture the exotic in the local, to imagine rather than reenter the unknown. Read More
May 26, 2022 Diaries The Sixties Diaries By Ted Berrigan My father, Ted Berrigan, is primarily known for his poetry, especially his book The Sonnets, which reimagined the traditional sonnet from a perspective steeped in the art of assemblage circa the early sixties. He was also an editor, a publisher, and a prose writer—specifically one who worked in the forms of journals and reviews. While his later journals were often written with the expectation of publication—meaning the journal-as-form could be assigned by a magazine editor—his sixties journals are much more internal. In these journals, he’s writing to document his daily life and his consciousness while figuring out how to live, and how to live as a poet, so to speak. These excerpts from his journals were originally published in Michael Friedman’s lovingly edited Shiny magazine in 2000. They were selected by the poet and editor Larry Fagin, who invited me to come to Columbia University’s library, where my father’s journals from the early sixties are archived, and work with him on the selection process. We were looking, as I think of it now, for moments of loud or quiet breakthrough—details, incidents, and points of recognition that contributed to his ongoing formation as a person and poet. Read More
May 26, 2022 First Person The Family Is Finished: On Memory, Betrayal, and Home Decor By Menachem Kaiser The author’s parents at his grandmother’s home, celebrating their engagement. (All photographs and videos courtesy of Menachem Kaiser.) A couple of years ago, I sent my parents a chapter from the manuscript of a memoir I’d written. I couldn’t not send it, though I waited—partly out of cowardice and partly to prevent them from claiming a bigger editorial role than I could tolerate—until the copyediting stage, when it was too late to make substantive changes. While working on the book I’d been able to suppress any anxiety over what my family might think or feel about it, but once it was finished I remembered (you really do forget) that those it describes are not merely characters in a story but people in my life. And then, suddenly, everything I’d written about them was available for preorder. Read More
May 25, 2022 Contests Announcing the Winners of 92Y’s 2022 Discovery Contest By The Paris Review The winners of the 92Y Discovery Contest. From top left, clockwise: Jada Renée Allen, Sasha Burshteyn, April Goldman, Kristina Martino. For close to seven decades, 92Y’s Discovery Poetry Contest has recognized the exceptional work of poets who have not yet published a first book. Many of these writers—John Ashbery, Mark Strand, Lucille Clifton, Ellen Bryant Voigt, Brigit Pegeen Kelly, Mary Jo Bang, Solmaz Sharif, and Diana Khoi Nguyen, among many others—have gone on to become leading voices in their generations. This year’s competition received close to a thousand submissions, which were read by the preliminary judges, Sumita Chakraborty and Timothy Donnelly. After much deliberating, the final judges—Victoria Chang, Brian Teare, and Phillip B. Williams—awarded this year’s prizes to Jada Renée Allen, Sasha Burshteyn, April Goldman, and Kristina Martino. The runners-up are Jae Nichelle and Daniel Shonning. The Paris Review Daily is pleased to to publish the poems of this year’s winners. Read More
May 23, 2022 Re-Covered Re-Covered: The Bloater by Rosemary Tonks By Lucy Scholes Photograph by Lucy Scholes. The poet and novelist Rosemary Tonks wrote her third novel, The Bloater, in just four weeks in the autumn of 1967, which would have been impressive by any standards but her own. She had originally set out to finish it in half the time and had hoped it would earn her “a lot of red-hot money.” (Here, she fell short too). But the result was a dizzying, madcap story that was a hit with the critics. Again, most writers would have been over the moon with such a reception, but Tonks could never be so predictable. “It just proves the English like their porridge,” she once reportedly replied to congratulations from her editor. To borrow a confession from The Bloater’s canny narrator—a young woman who bears more than a passing resemblance to Tonks herself: “I knew perfectly well what I was doing.” Read More
May 23, 2022 Diaries Diary, 1988 By Elif Batuman Last year, when my mother moved apartments, I came into possession of a largeish Prada box full of my childhood diaries. They go from 1981—I was four, and dictated the diary to my aunt—up to the nineties. I still haven’t read most of them. (I think it was a handbag, and not a small one, that originally came in that Prada box.) It is hard work to feel love for one’s childhood and adolescent self. Reading this entry, for example, I feel ashamed at my eleven-year-old self’s American imperialistic attitude towards my grandparents, who hadn’t heard of a planetarium before but “liked it very much.” It’s interesting that I then apparently felt I had to explain the concept of a planetarium for the benefit of people “a million years from now.” The whole entry gives me a “dutiful” feeling, when I read it now. I think I used to feel like I had to be writing all this stuff down, maintaining a chatty, “delightful” style, explaining every last thing down to the speech patterns of my fifth-grade science teacher, and appealing to some kind of “universal” reader who would understand it all and give each detail its proper value (although apparently this person also wouldn’t know what a planetarium was). What even is a childhood diary—for whom do we keep it? Elif Batuman’s first novel, The Idiot, was a Pulitzer Prize finalist. Its sequel, Either/Or, will be published on May 24.