claire schwartz, from poetry rx as featured in the paris review
17K notes
·
View notes
David Cronenberg, The Paris Review, January 17, 2014
3K notes
·
View notes
Danielle Orchard, Lint, 2022
1K notes
·
View notes
— 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.]
2K notes
·
View notes
This from The Paris Review “Reimagining Masculinity”
317 notes
·
View notes
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.
335 notes
·
View notes
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.”]
2K notes
·
View notes
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
153 notes
·
View notes
brb gonna sit in silence with this for an hour
93 notes
·
View notes
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
241 notes
·
View notes
Magic Land with George Liautaud, gouache on paper 42x60 cm by SainteMaria
25 notes
·
View notes
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
649 notes
·
View notes
William Faulkner | The Paris Review
19 notes
·
View notes
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]
11 notes
·
View notes
The Art of Poetry No. 111, with Ted Hayes (from Paris Review issue 241)
21 notes
·
View notes