In its fifty-first year of publication, 'The Paris Review' continues to search for new ways to bring together writers and readers.
Sentiment: POSITIVE
The nice thing about publishing later in life is that you already know who you are. You don't have to hang out with the 'Paris Review' crowd to try to make yourself feel like a legitimate writer.
I don't even know how people read new fiction anymore because there's so much old fiction that exists that seems great that's unread. It's overwhelming to me. But, I mean, I do read. But there probably haven't been many people less literate than me that have been in 'The Paris Review.'
I published my first poem in 'The Paris Review' in 1980.
To my undying shame, I do read reviews. I don't read them all, but I like to get some kind of idea how things are going.
I was incredibly lucky that my first book found a large and loyal readership. It changed my life - from being a very withdrawn adult to living in Paris as a full-time writer. It has also given me enormous confidence.
What I enjoy about reviewing and writing for newspapers and periodicals is simply the chance to talk about all kinds of books and lots of them.
I don't write for publishers, certainly not for critics, and not for readers, But I am delighted that so many people have found my books enjoyable and want to continue to read them.
Writing is exhilarating, but reading reviews is not. I've been really devastated by 'good' reviews because they misunderstand the project of the book. It can be strangely galvanising to get a 'bad' one.
The first function of a book review should be, I believe, to give some idea of the contents and character of the book.
'The Paris Review's mandate has been the same for fifty years. First and foremost, this magazine is for writers; the editors' task is to support and celebrate them, especially at the beginning of their careers, but also as they move forward, venturing stories that are creative, risky, new.