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#the paris review
luthienne · 2 years
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claire schwartz, from poetry rx as featured in the paris review
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amatesura · 1 year
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David Cronenberg, The Paris Review, January 17, 2014
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llovelymoonn · 1 year
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on november
nina maclaughlin the paris review: "on the first of november, the ghosts arrive" \\ emily dickinson in a letter to elizabeth holland (early nov, 1865) (via @flowerytale) \\ anna akhmatova rosary \\ philip jenks colony collapse metaphor: "november" \\ robert frost the complete poems: "my november guest" \\ ellis nightingale (@ellisnightingale) \\ @honeytuesday \\ nina maclaughlin the paris review: "the dark feels different in november" \\ l.m. montgomery anne of green gables \\ maggie stiefvater the scorpio races (via @metamorphesque) \\ sylvia plath the unabridged journals of sylvia plath (via @louisegluck)
kofi
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lolaveda · 1 year
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Danielle Orchard, Lint, 2022
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metamorphesque · 2 years
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—  Anne Carson, The Paris Review (Fall 2004)
[text ID: I've come to understand that the best one can hope for as a human is to have a relationship with that emptiness where God would be if God were available, but God isn't.]
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dreaminginthedeepsouth · 11 months
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This from The Paris Review “Reimagining Masculinity”
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huariqueje · 11 months
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Untitled ,  The Paris Review    -   Janet Fish , 2014.
American, b. 1938-  
Pastel on paper,  24 3/4  x  23 In.      62.87  x  58.42 cm.
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soracities · 2 years
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Octavio Paz, The Art of Poetry No. 42 (interviewed by Alfred Mac Adam)
[Text ID: “INTERVIEWER: Is this why the language of mysticism is so erotic?
PAZ: Yes, because lovers, which is what the mystics are, constitute the greatest image of communion. But even between lovers solitude is never completely abolished. Conversely, solitude is never absolute. We are always with someone, even if it is only our shadow. We are never one—we are always we. These extremes are the poles of human life.”]
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heavenlyyshecomes · 11 months
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Why record a flower? What’s the point? They’re ephemeral, they’re never the same from day to day, they’re so brief, there are so many of them. Incremental change, inevitable loss. Their scale is both too large and too small. I’ve never before wanted to write about them, except that I am noticing them now, and the way they make me feel time, make me see time. On their bodies I see time much more clearly and poignantly than I see it on my own. And yet my body, too, is in time, and its season is indefinite. It, too, is just one of so many. “Flesh dreams toward permanence,” wrote the poet and essayist Mark Doty, who survived the AIDS epidemic but buried many people he loved and wrote about it. He writes also about the natural world, the ocean, lemons, painting. In Still Life with Oysters and Lemon, a meditation on still life portraiture that is also a meditation on loss, he writes, “Description is an inexact, loving art, and a reflexive one; when we describe the world we come closer to saying what we are.”
Jordan Kisner, Vanitas, in The Paris Review
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saintpoems · 8 months
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brb gonna sit in silence with this for an hour
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smokefalls · 1 year
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You breathe better, I’ve found, when you remember that you don’t need to go through a thousand divorces from the selves you want to leave behind: you can just accept them.
Eloghosa Osunde, “Walk Worthy” from The Paris Review
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saintemaria · 2 months
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Magic Land with George Liautaud, gouache on paper 42x60 cm by SainteMaria
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llovelymoonn · 10 months
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on grief
kyra wilder john wick is so tired \\ jamie anderson \\ jandy nelson the sky is everywhere \\ okechukwu nzelu here again now \\ nadia mota grief poem #4, in traffic \\ victoria hannan marshmallow
kofi
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guy60660 · 27 days
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William Faulkner | The Paris Review
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Interview from The Paris Review
W. S. Merwin, The Art of Poetry No. 38 Issue no. 102 (Spring 1987)
INTERVIEWER
Do you see a connection between poetry and prayer?
MERWIN
I guess the simple answer is yes, if only because I think of poetry as an attempt to use language as completely as possible. And if you want to do that, obviously you’re not concerned with language as decoration, or language as amusement, although you certainly want language to be pleasurable. Pleasure is part of the completeness. I think of poetry as having to do with the completeness of life, and the completeness of relation with one’s experience, completing one’s experience, articulating it, making sense of it.
[Follies of God]
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the-shooting-star · 6 months
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The Art of Poetry No. 111, with Ted Hayes (from Paris Review issue 241)
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