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The Ghost in the Machine, and Other News
A man and his son listen to their battery radio, September 1946. Jonathan Franzen investigates the necessary and sufficient features of that classic, oft-maligned form, The New Yorker story: “What made...
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We Guarantee It
From a vintage Sealy mattress ad. “Oh my God,” I said, turning to my husband with tears in my eyes. “What is it?” he asked, understandably alarmed. The train had stopped at a Connecticut...
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Bastille Day Sale
George Plimpton loved Bastille Day. He also loved the Fourth of July and Saint Patrick’s Day—any event, really, that occasioned a parade and the shooting off of fireworks. “Ecstasy after ecstasy” and...
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Submerged and Interior: An Interview with Gregory Crewdson
Gregory Crewdson, Father and Son, 2013, digital pigment print, 37 1/2″ x 50″. All Photos © Gregory Crewdson. Gregory Crewdson is a photographer, but he calls himself a storyteller. He has spoken of his...
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Book Ideas from the Bottom of the Barrel
© Liana Finck Liana Finck’s cartoons appear in The New Yorker, The Awl, and on her Instagram feed. Her graphic novel, A Bintel Brief: Love and Longing in Old New York, was published by Ecco Press in...
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Our Contributors’ Favorite Books of 2017
Fleur Jaeggy This past July, I read Fleur Jaeggy’s most recent collection, I Am the Brother of XX (New Directions, 2017) with a mix of envy and admiration. While it may not qualify as holiday...
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Vodka for Breakfast: On the Melancholy of Cheever’s Journals
Detail from the cover of the Vintage Classics edition of Cheever’s Journals There is something feckless about a writer’s journals. They are a specialist’s document, and those who parse their pages are...
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To All the Introductions I’ve Loved Before
Konrad Kachelofen’s printing of Eclogue of Theodulus, 1492. Public domain. “I never read introductions,” says Rose, the younger of my two daughters. She thinks it over for a second, frowns; the...
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Do Not Et Cetera
DIY miniature dollhouse, licensed under CC BY SA 4.0. “Living in America during the Reagan years had the same disorientation as a texture dream,” writes David Wojnarowicz in Close to the Knives, “that...
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Redux: Which Voice Is Mine
Every week, the editors of The Paris Review lift the paywall on a selection of interviews, stories, poems, and more from the magazine’s archive. You can have these unlocked pieces delivered straight to...
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