This is an excellent collection of interviews. It features a diverse range of writers, with James M. Cain, Dorothy Parker, Saul Bellow, and Kurt Vonnegut being some of my personal favorites. However, every single interview in this book is interesting, even those with writers I wasn't previously familiar with. The conversations offer unique insights into the minds and creative processes of these literary giants. It's a great book that you can come back to again and again, as each reading reveals something new and thought-provoking. Whether you're a die-hard literature fan or simply looking to expand your knowledge of the written word, this collection is sure to delight and inspire.

Ah, yes, the mysterious format of questioning and answering. It's truly fascinating how even the most seemingly un-profound question can unlock the deepest recesses of a writer's consciousness. From the very core of their being, their lived experiences, and yes, even the qualms of their unlived experiences, all contribute to the wellspring of their creativity. Only the answer holds the key to this enigma.

We have a diverse group of writers here. Take Dorothy Parker, for example, who worked at Vogue for a while and wasn't afraid to wear her heart on her sleeve. She once said, in essence, that as a writer, looking at your own work and knowing it's the best you can do is often what kills you. And then there's Richard Price, the most unexpected of the lot. After experimenting with various drugs himself, he hung out with crackheads and wrote about them in his monumental work, "Clockers." I'm told it's a masterpiece that not only provides narrative pleasure but also packs an emotional punch that thrillers usually lack. These writers come from different backgrounds and have faced different challenges, yet they all share a common goal: to contribute to the cause of literature and language, to uphold its cadence and power of storytelling, which is the very fabric of civilization worth saving.

While MFAs teach budding writers the "how" of writing, these interviews perform the crucial task of making one understand the "why." As Nietzsche said, "one who knows the why can withstand any how." There are moments of absolute truth in these interviews that can stun the reader and send them into a reverie. The words seem to hang before you like a great apparition. For instance, although not included in this volume, Toni Morrison, who has had an incredibly impactful literary life, said that struggling through a work in progress is more important to her than publishing it. This statement struck me as odd at first, but as I thought about it, the gravity of her words really sank in. There's a certain nobility in that.

What did she mean by that? Well, for an artist, finding pleasure in the often-fraught process of creating fiction is essential. Admitting that talent doesn't shield one from the struggle of creation is part of the journey. A shining jewel doesn't reveal its true beauty without first undergoing some degree of polishing and refinement. One has to accept that failure may lurk around every corner during the creative process. Wrestling with ideas and emotions is an inescapable part of it. Because often, art of any kind, without conscious effort, becomes an exploration of one's lived and unlived experiences. It's an unconscious unravelling of notions, ideologies, and identities, stripped bare to their essence, with the intention of expressing the inexpressible and reaching a point of reckoning, enlightenment, or understanding, if not universal, at least primal.

Writers (for the most part) and readers, rejoice! There's a treasure trove of wisdom and inspiration to be unearthed here. The struggle, the joy, the arduous voyage - all of it is part of the creative process. We often forget that we only see the final product, not the rough drafts and undeveloped forms. As Don DeLillo said, it's a democratic shout that only requires the most modest of tools: paper and pencil. And the consciousness to string words together until a true sentence is formed. But then, the challenging process has only just begun.

The struggles voiced by these writers serve as an encouragement to others. Once one can accept that the creative journey is not always serious, yet the end result can have profound implications, perhaps the boldest artistic creations can emerge. Maybe the key is to approach this business with a sense of mindfulness, knowing that it's not to be taken too seriously. Finally, at the risk of sounding overly sentimental, these interviews come together to embolden the timid writer and reader alike, and to convince them that there is a home to be found in writing. Otherwise, we're just sleepwalking through times that demand our full attention and alertness now more than ever.

Fascinating!

I read parts of this book at least once a month. It's truly captivating. Vonnegut has an interesting interview in it, which is a treat for all you Vonnegut fans out there. His words and perspectives always manage to intrigue and inspire.

My favorite interviews in this book are probably the Capote and Lessing interviews. Capote's unique style and insights are always a joy to read, while Lessing's profound thoughts and experiences add another layer of depth to the collection.

Each interview offers a different window into the minds of these remarkable writers, and I find myself constantly coming back to this book to explore their ideas and gain new perspectives. It's a must-read for anyone interested in literature and the creative process.

Overall, this book is a treasure trove of literary gems, and I highly recommend it to anyone looking for an engaging and thought-provoking read.

WE TELL OURSELVES STORIES IN ORDER TO LIVE

This collection of interviews is not just about literature; it's a fragment of history. Kudos to The Paris Review for conducting these interviews for decades, and to Fandango for translating and publishing them in Italian.

In this first volume, the interviewees include literary giants like Dorothy Parker, Truman Capote, Ernest Hemingway, and of course, Joan Didion. For me, this book was a gift, an opportunity to read more about my favorite writer, this extraordinary woman.

At the time of this interview in 2006, Didion had just published "The Year of Magical Thinking" in 2005. By then, she had already published all six of her novels. In this memoir, which is a reportage on pain, grief, and the loss of a loved one, Didion recounts the sudden death of her husband, John Gregory Dunne, right in front of her eyes at the dinner table in late 2003. The couple had just returned home from the hospital where their daughter, Quintana Roo, was in a coma.

The funeral of John Gregory Dunne took place a few days later, waiting for Quintana to come out of the coma and recover enough to participate. Sadly, after the funeral, Quintana fell when getting off the plane in Malibu, where she had grown up, and died two years later.

When "The Year of Magical Thinking" was published, Quintana had just passed away, and the book focuses on her husband. Joan had the idea of adapting her memoir for the stage, something she had never done before. David Hare, the friend she asked to direct, suggested including the story of their daughter as well. The play was performed as a monologue by Vanessa Redgrave, a long-time friend of the Didions.

Joan Didion was born in Sacramento, California, the setting of her first novel, "Run River." Her ancestors arrived in California with the Donner Party but wisely chose not to follow the ill-fated shortcut. Her husband's ancestors, on the other hand, immigrated to the US from Ireland and landed at Ellis Island.

When the Dunne-Didions lived in Malibu, they decided to do some home renovations. The carpenter who did the work and lived with them for two months was a young family friend, Harrison Ford. Their marriage was so strong that it easily withstood the advances of Warren Beatty, who would call the hostess before every dinner where he knew Joan would be to ask her to sit next to him.

In this interview, Didion shares part of her literary career and, more importantly, her self-taught writing method. She would type and retype not only her own work but also the stories of others, especially those of Hemingway. This process of rewriting, or rather, retyping, helped her feel the rhythm of the sentence and learn to modulate it as she searched for her personal style, her literary form, and ultimately, her voice.

Didion and Dunne also worked in the film industry. Before writing anything new, Joan would always reread Conrad's "Victory," and before writing a film, they would always watch "The Third Man," a great film with a perfect screenplay.

I would like to ask Joan if by "we tell ourselves stories in order to live," she means that each of us creates our own reality and constructs the memories we want. Is that why "the center will not hold"?

I truly adored this collection. It is an absolutely fascinating compilation of interviews with literary figures, featuring many of the greats from over the years as presented in the Paris Review.

Not every single interview or interviewee had a profound impact on me, but the vast majority did in one manner or another. For instance, the Ernest Hemingway interview was rather amusing, not necessarily because of the topic itself, but due to the struggle of the interviewer to focus it in a particular way while Hemingway stubbornly persisted in being cantankerous throughout the whole affair. :-)

I was particularly fond of the format used for the famous editor Robert Gottlieb. It alternated between the interview with him and his discussions about the authors he worked with, as well as the comments by those writers about him and their experiences working with him.

This is truly good stuff and I highly recommend it to all literary enthusiasts. I will most definitely be eagerly looking forward to reading the next three volumes. Even if I take a short break between each one to better savor them over time.

Renowned interviews have been a prominent feature starting from the 1950s. These interviews involve a diverse range of individuals, including writers, poets, biographers, and essayists.

For anyone with an interest in literature, this is truly one of the best resources available. The interviews are of sufficient length to enable in-depth exploration and often hold surprises. They are conducted by people who are not only familiar with but also deeply in love with their subject, which is the art of writing.

The questions asked are carefully thought out and, in some cases, can even be considered works of art and writing themselves.

An online subscription to The Paris Review, which allows one to read all the interviews from the 1950s until the present day, is an incredibly cost-effective means of exploring our current humanities. It provides a wealth of knowledge and insights into the minds and works of some of the greatest literary figures of our time.

Subscribing to The Paris Review is not just about reading interviews; it is about embarking on a journey of discovery and enlightenment in the world of literature.

Love writers!

My favorite interviews were with Hemingway, Borges, Vonnegut (obviously), and Didion (obviously

Reading this book was truly an elevating experience. It was like finding an oasis in the midst of the daily banalities of life. So many great minds were speaking up their minds all at once. Some of the interviews were more literary and intellectual in nature, while others were more chatty. For obvious reasons, I favored the former, especially those related to self-help. However, I also didn't mind the latter because the chatter was always of a high quality. There was no small talk here, no matter what the topic was. Instead, there was plenty of healthy irony. And some of the interviewees, like Hemingway, Borges, or Dorothy Parker, really had their personalities shining through on every page, in all their multi-dimensional glory and non-glory. My very favorites among them were Parker, Truman Capote, Rebecca West, and Joan Didion. Their words and insights left a lasting impression on me.

The interviews with Faulkner and Kerouac are the high points.

In the first case, it is because of the surprising responses.

Faulkner's words carry a certain weight and depth that can leave the listener in awe.

His insights into the writing process and the human condition are truly remarkable.

In the second case, the interview with Kerouac is like a beat story.

I particularly like the part where Kerouac stabs a drunkard at the interviewer.

It adds a touch of wildness and unpredictability to the encounter.

Kerouac's free-spirited nature shines through, making the interview a memorable and engaging experience.

Together, these two interviews offer a fascinating glimpse into the minds of two literary giants.

This is truly the absolute best collection of interviews available.

It is a must-read for anyone who has an interest in writing or wishes to gain insights into the lives of diverse writers.

The interview with Borges, in particular, stands out and may very well be the finest among them all.

His thoughts and perspectives on literature, creativity, and the writing process are both profound and captivating.

Readers will find themselves immersed in his world, learning from his experiences and being inspired by his unique approach to storytelling.

Whether you are a budding writer looking for guidance or a literature enthusiast eager to explore the minds of great authors, this collection of interviews is sure to satisfy your curiosity and provide you with valuable knowledge and inspiration.

Don't miss out on this opportunity to discover the genius of Borges and other remarkable writers through their own words.

I have been reading this on and off for about a year. It has truly been a remarkable experience. The interviews within this collection are, without a doubt, the best I've ever come across. They are not only incredibly engaging but also deeply inspiring. Each interview offers unique insights and perspectives that have the power to transform one's way of thinking.

Among all the interviews, I have a particular fondness for Didion. Her words seem to resonate with me on a profound level. Her writing style is so distinct and captivating, and her thoughts are both intelligent and thought-provoking. Reading her interviews has been like embarking on a journey of self-discovery and exploration.

Overall, this collection of interviews has become an important part of my life. It has enriched my understanding of the world and has inspired me to pursue my own passions with greater determination. I would highly recommend it to anyone who is looking for a source of inspiration and enlightenment.

I have an intense love for Paris Review interviews!

They are truly fascinating and offer unique insights into the minds and works of various literary figures.

However, it should be noted that these interviews are often edited down.

This editing process aims to remove the quirky or very period-contextual elements that might not be as relevant or accessible to a wider audience.

As a result, I have decided to take matters into my own hands.

I will now read these interviews online directly from the Paris Review archive.

By doing so, I can ensure that I get the full and unadulterated experience.

I believe that this will allow me to truly appreciate the depth and richness of these interviews, and gain a more comprehensive understanding of the literary world.

I can't wait to embark on this literary journey and discover all the hidden gems that the Paris Review archive has to offer.