The Paris Review Interviews Vol. 3

by The Paris Review, Philip Gourevitch, Margaret Atwood (Introduction)

'The Paris Review' has elicited many of the most arresting, illuminating, and revealing discussions of life and craft from the greatest writers of our age. This volume collects some of these interviews from the notorious and respected literary magazine.

Genres: Nonfiction, Writing, Literature, Biography, Literary Criticism, Essays, Anthologies

446 pages, Paperback

First published October 28, 2008

About the author

Founded in Paris by Harold L. Humes, Peter Matthiessen, and George Plimpton in 1953, The Paris Review began with a simple editorial mission: “Dear reader,” William Styron wrote in a letter in the inaugural issue, “The Paris Review hopes to emphasize creative work—fiction and poetry—not to the exclusion of criticism, but with the aim in mind of merely removing criticism from the dominating place it holds in most literary magazines and putting it pretty much where it belongs, i.e., somewhere near the back of the book. I think The Paris Review should welcome these people into its pages: the good writers and good poets, the non-drumbeaters and non-axe-grinders. So long as they're good.”

Decade after decade, the Review has introduced the important writers of the day. Adrienne Rich was first published in its pages, as were Philip Roth, V. S. Naipaul, T. Coraghessan Boyle, Mona Simpson, Edward P. Jones, and Rick Moody. Selections from Samuel Beckett's novel Molloy appeared in the fifth issue, one of his first publications in English. The magazine was also among the first to recognize the work of Jack Kerouac, with the publication of his short story, “The Mexican Girl,” in 1955. Other milestones of contemporary literature, now widely anthologized, also first made their appearance in The Paris Review: Italo Calvino's Last Comes the Raven, Philip Roth's Goodbye Columbus, Donald Barthelme's Alice, Jim Carroll's Basketball Diaries, Peter Matthiessen's Far Tortuga, Jeffrey Eugenides’s Virgin Suicides, and Jonathan Franzen’s The Corrections.

In addition to the focus on original creative work, the founding editors found another alternative to criticism—letting the authors talk about their work themselves. The Review’s Writers at Work interview series offers authors a rare opportunity to discuss their life and art at length; they have responded with some of the most revealing self-portraits in literature. Among the interviewees are William Faulkner, Vladimir Nabokov, Joan Didion, Seamus Heaney, Ian McEwan, and Lorrie Moore. In the words of one critic, it is “one of the single most persistent acts of cultural conservation in the history of the world.”

Reviews

[Antigone · Rating 3 out of 5]

The third volume is a mixed bag. Some of the interviews stood merely as filler for me, yet they were juxtaposed against a few true fascinations.

Ted Hughes, whom I've never known quite what to make of, has by far the most substantial conversation on the writing process in this collection. It was terrific to get a resilient sense of enthusiasm from Martin Amis, and Salman Rushdie's mystification over how the world views him is always, always, amusing. He's just completely oblivious on the subject of his character and how his personality holds the potential to abrade. Mailer roars, which I find anchoring, and Ralph Ellison - if you let him - will light a match and set your world on fire.

There's a lot here, even in the lesser exchanges, on the psychic toll of writing. Cheever calls it "clinical fatigue." Chinua Achebe likens the labor to "a term of imprisonment." Jean Rhys speaks of isolation and depression. Leave it to Mailer, though, to deliver the goods by slamming a fist to the table:

On hearing of Hemingway's suicide -

"I remember it very well. I was with Jeanne Campbell in Mexico and it was before we got married. I was truly aghast. A certain part of me has never really gotten over it. In a way, it was a huge warning. What he was saying is, Listen all you novelists out there. Get it straight; when you're a novelist you're entering on an extremely dangerous psychological journey, and it can blow up in your face."

And the interviews continue...

[Teresa · Rating 5 out of 5]

Tal como dos dois volumes anteriores, gostei muito de todas as entrevistas, mas tenho de destacar a de George Steiner, pela riqueza e forma dos temas abordados.

Os entrevistados desta edição:

Alice Munro

Dorothy Parker

Elena Ferrante

George Steiner

Henry Miller

Emmanuel Carrère

John Steinbeck

Julian Barnes

Karl Ove Knausgård

Lydia Davis

Susan Sontag

W. H. Auden

[misael · Rating 5 out of 5]

Este é um dos meus livros favoritos do ano. Por aquilo que contém, pelas entrevistas de que é feito, pela sabedoria que encerra, pelas perguntas que são feitas e pelas respostas que são dadas.
Neste volume das entrevistas da mítica revista literária Paris Review, são entrevistadas 12 grandes figuras das letras mundiais do século XX.
Alice Munro, mulher doce mas obstinada, nascida em 1931, fala da infância, dos editores, da dicotomia conto/romance, dos seus casamentos, do Canadá e da literatura, de um modo geral.
Dorothy Parker, uma mulher intensa e explosiva da sociedade norte-americana, discorre sobre temas como a condição da mulher, a sátira nos seus livros e na vida em geral, a indústria de Hollywood, a poesia, os Loucos Anos 20 e ainda a sua passagem pela Vogue e pela Vanity Fair.
Elena Ferrante, a misteriosa napolitana, fala sobre tudo e sobre nada: sobre as memórias conectivas que todos temos, sobre a infância que pode ser de cada um de nós e de todos ao mesmo tempo, sobre a condição de anónima, sobre Itália, sobre crianças, sobre literatura.
George Steiner, filósofo carismático, começa por abordar a questão da filosofia versus a literatura, do ensaio versus o romance, fala ainda de grandes escritores e de renomados filósofos, aborda largamente os seus livros.
Henry Miller, cáustico e satírico pornográfico, refere Hemingway, cita poetas, fala da moral e da religião, da obscenidade e do sexo, do que está a escrever, do que já publicou e do que escreverá e, seguida.
Emmanuel Carrère, um dos poucos que não conhecia até o ler neste volume, discursa sobre romances e reescrita, de Philip K. Dick e da sua mãe, de ficção e do eu, do fascismo e do mistério.
John Steinbeck, o incontornável John Steinbeck, goza aqui de estatuto especial pois a sua entrevista já estava prometida à Paris Review quando este morre, o que faz com que a entrevista se construa a partir de notas deixadas pelo autor, trechos de romances e cartas ou entradas de diário.
Julian Barnes, o britânico francófilo, fala de França e de literatura, de verdade e de vocação, das mentiras essenciais e da preferência de Flaubert sobre Balzac, da diferença entre os romancistas americanos e os britânicos e de escritores com uma só grande obra, de personagens e horários.
Karl Ove Knauagard, o nórdico politicamente incorrecto, é questionado sobre a sua luta, sobre a crítica, acerca dos consensos e da masculinidade, de respostas e de momentos.
Lydia Davis, numa conversa informal, aborda a ética, de poemas e diálogos, cartas e budismo, tradução e infância, música e a tensão que cria a escrita.
Susan Sontag, a minimalista devoradora de livros, fala de viagens, o sonho da escrita, referências, leituras, intelectualidade, feminismo, o início e os lamentos, a informação e os ensaios, a crítica e a escrita não por haver um público, mas por haver literatura.
E, por fim, W. H. Auden, um narcisista consciente, que discorre sobre gravadores e infância, poesia e Housman, professores e Estados Unidos, ferocidade e má arte, público e almas gémeas, hábitos, cartões de créditos, elogios, mulheres, loucos, Isherwood, música, a Islândia, Finnegans Wake, gatos e casamentos, Mickey e o Demónio, vizinhos e sexo.

[tortoise dreams · Rating 5 out of 5]

This third collection of interviews with notable writers continues strong and any lessening of excitement on my part is, I think, that having read so many now there's less surprise and novelty and a bit of repetition. But as always, every interview has something of worth for readers or aspiring writers, and if your favorites include any of the authors here this will be especially enthralling. The big names include Waugh, Mailer, Ralph Ellison, Rushdie. Of the poets Ted Hughes and (an elderly and failing) William Carlos Williams. Others of note include Jan Morris, one of the earlier trans writers, as well as Joyce Carol Oates, Isak Dinesen, Chinua Achibe, and others. I was curious about Jean Rhys and Georges Simenon of whom I wanted to know more. I hope The Paris Review has plans to issue future volumes beyond these four. (The interviews here go up to 2007). [5★]

[Alexandra Machado · Rating 5 out of 5]

4.5

[EMILIO SCUTTI · Rating 5 out of 5]

Questo libro rappresenta un’occasione unica per entrare nell’officina, nei luoghi intimi dei più grandi scrittori contemporanei laddove nascono i capolavori poetici e letterari del nostro tempo. Forse manca una bibliografia degli autori che avrebbe completato l’opera.

[Derek · Rating 5 out of 5]

All four of these interview compilations are filled with brilliant interviews that illuminate diverse aspects of the creative process. The interviews reveal at least some creative commonalities among literary geniuses. For instance, most writers hate to admit that they have had any creative influences. Harold Bloom was right.

[Ryan Chapman · Rating 4 out of 5]

Every volume in this series is a must-have for every struggling writer, intelligent reader, and member of the literate society.

Especially wonderful in this collection: Ralph Ellison's bold ambition and humility ( Invisible Man was merely an "attempt" at a major novel), Martin Amis' no-bullshit approach to writing and life, Harold Pinter's off-putting self-absorption and condescension.

[Jody · Rating 4 out of 5]

I loved volumes one and two, so I figured I might as well buy the third volume. It does not disappoint. Like the previous volumes, this is my procrastination book that doesn't look like procrastination. I learn something with each interview, espcially Ted Hughes's interview. I harbored a hatred for that man, but after reading his editorial defense on Plath's book Ariel, his choices made sense. So, if anything, there's one less strange that I dislike.

[Jim · Rating 5 out of 5]

fascinating insights into some of my favourite authors & food for thought to scope out some writers I've not encountered previously. must attempt to read Vols I&II at some stage.

[Derek · Rating 5 out of 5]

I still maintain, these Paris Review Interviews are all the MFA anyone needs. Not only do we dive deep into the minds of some of historys greatest writers, we gleam their work ethics and form a picture on what it means to be a working writer. These interviews are uncommon in their candour and depth. It's taken over a year to read this, but it's the only way to read these. Slowly and go back over and over again over the parts that resonate.

All the interviews contained within are gold, but my fav feature Martin Amis, Raymond Carver, Chinua Achebe, Salman Rushdie, Norman Mailer, Ted Hughes, Joyce Carol Oates and Jan Morris.

Definitely rereading this.

[Claire · Rating 4 out of 5]

My least favorite of the first three volumes, but still full of wonderful advice and insight from masters in the field. I think I've become a little overwhelmed from reading so many of these interviews in so little time, but I don't regret what I've done. It'll just take a little while before I make it to volume four.

(Um also, Ted Hughes sounded really eloquent and tender toward his craft, and toward Sylvia. Something particularly unexpected. I'm happy to have been proven wrong about him.)

[John Hood · Rating 5 out of 5]

http://miamisunpost.com/archives/2008...

Bound - Miami SunPost

Nov. 20, 2008

A Gentleman Among Men

George Plimpton Was All That and Then Some

By John Hood

George Plimpton and I first met at his Manhattan home back in ’90 or ’91 when he hosted a wedding reception for then Paris Review Senior Editor Fayette Hickox. I was just coming into my ego then and still a bit reticent around celebrity, but Plimpton made me feel immediately welcome into his world. That his world consisted of every 20th century writer of any merit, not to mention more bold-faced names than any three compendia on fame, only made his welcome all the warmer — and all the more cool.

The next day Plimpton had me up to his place again, this time so I could interview him for Paper Magazine, and again he insisted that I call him “George.” It wasn’t an easy move for me to make — his stature suggested a definite “Mr. Plimpton” — but he was adamant. Besides, George was simply too damn agreeable to argue with. We collided a couple more times over the years, most notably when Brian Antoni threw a Black & White Ball to celebrate the release of Truman Capote, and on each and every occasion George remained the consummate gentleman — impeccably mannered, effortlessly elegant and genuinely kind.

Of course I’m just one of the thousands upon thousands who encountered George throughout his long and robust life, and hardly one of his intimates. Had we been closer I’m sure I’d be among the many remembrances in the remarkable George, Being George (Random House, $30), an oral history that includes looks back from the likes of Gay Talese, Gore Vidal, William Styron and Peter Matthiessen.

Subtitled George Plimpton’s Life as Told, Admired, Deplored, and Envied by 200 Friends, Relatives, Lovers, Acquaintances, Rivals — and a Few Unappreciative Observers, and expertly edited by his pal Nelson W. Aldrich Jr., George is not just the sort of oral history very few people deserve, it’s the sort George himself would’ve definitely approved of. Why? Because it was a form he perfected with the books Edie and Truman Capote.

Yet neither Warhol’s tragic superstar nor the noted “non-fiction novelist” even came close to covering as much ground as George Plimpton, who was born with a silver spoon in his mouth, died the talk of the town, and in between lived enough lives to account for any 50 people, provided those 50 never stopped fully living throughout their entire lives.

I’m talking a man of action as well as letters, and quite often both at the same time. As a participatory journalist for Sports Illustrated, George went three rounds with then light heavyweight champ Archie Moore, quarterbacked the Detroit Lions, goaled for the Boston Bruins, hit the PGA Tour alongside Arnold Palmer and Jack Nicklaus, and flew through the air with the Clyde Beatty-Cole Brothers Circus. Each of those feats and more are talked about in George, some with envy, some with pride and all with utter awe.

But beyond the books and the exploits, George will perhaps be remembered for The Paris Review, which he helmed for the last 50-plus years of his life.

Founded in ’53 by Peter Matthiessen and Harold “Doc” Humes and basically given to George shortly thereafter, The Paris Review remains perhaps the most influential literary journal in history, mostly on account of its interviews, which began with E.M. Forster and number virtually every writer to have picked up a pen since.

Hemingway, Ellison, Faulkner, Greene, Burroughs, Miller, Bellow … name a 20th century heavyweight and The Paris Review chatted ‘em up. Some of those immortal interviews can now be found archived online, but to read them as they really were meant to be read, I wholeheartedly recommend you pick up Pantheon’s The Paris Review Interviews (Picador, $16).

Of the three volumes currently available, it’s impossible for me to pick a favorite, so I’ll just mention personal highlights from each.

In Volume I I’m most partial to James M. Cain, Richard Price and Dorothy Parker. Not because I don’t dig Borges and Bellow and Hemingway and Vonnegut (all of whom are also included), but because I double-dig crime and wisecracks, and if Cain’s The Postman Always Rings Twice and Price’s Clockers don’t epitomize crime writing and Parker wasn’t the embodiment of a wisecrack, then I’ll eat my hat.

For Volume II I’ll stick with Graham Greene and William Faulkner, first because of The Comedians and Our Man in Havana, and second because of As I Lay Dying and The Sound and the Fury, all of which I discovered back when I was broke and a book was all the sustenance I needed to get through a New York night.

In III I’ll take Raymond Carver, Norman Mailer and Martin Amis. Carver’s ultimately inimitable short stories still floor me, and on a couple occasions I got to meet Mailer, so his entry gets extra credit. Amis, I’m proud to say, I too had the privilege of interviewing.

And that kinda brings me full circle. Like George I believe in both word and action, and by George I’m inspired to fully use both. And while I might not do so with such grace and good manners, I’ve at least been given a blueprint. And so now have you.

[Brad · Rating 5 out of 5]

I bleeping love these books.

[Andresa Bastos · Rating 5 out of 5]

Brilliant. These interviews are an all time archive of human threads. Words to come back to.

[Meri · Rating 2 out of 5]

Joyce Carol Oates was, for me, the most relatable intervieew in the book. She's so sweet. I didn't really get that level of feeling (or anything) from some of the others.

[Ewan · Rating 4 out of 5]

they're so classy

[Cristiana · Rating 4 out of 5]

John Steinbeck
"Pela minha janela passa um número espantoso de raparigas bonitas. Gosto muito de raparigas bonitas, mas tenho idade suficiente para não ter de conviver com elas. E é um alívio."

"Testo sempre o que escrevo com os meus cães primeiro. Sabe, o Angel fica sentado a ouvir e tenho a sensação de que compreende tudo o que há para compreender. Mas com o Charley senti sempre que tentava acrescentar qualquer coisa. Anos atrás, quando o meu setter ruivo roeu o manuscripto de Ratos e Homens, comentei na altura que o cão devia ser um critico literário excelente."

"Há duas vias para a privacidade - a varíola e a pobreza."

"Há quem sue as estopinhas para evitar problemas, esquecendo-se de que suar as estopinhas é um problema."

Georges Steiner
Gostava de ser recordado como um professor que ensina a ler bem, e refiro-me auma leitura terapêutica, num sentido profundamente moral: a leitura deve comprometer-nos com um ponto de vista, deve convocar a nossa humanidade, deve diminuir a nossa capacidade de indiferença. Mas não sei se consegui, no que diz respeito tanto aos outros como a mim."

"Acredito que somos convidados da vida - neste aspecto sou muito heideggeriano. Não sabemos por que razão nascemos, não escolhemos viver, não escolhemos nascer numa determinada comunidade, época, classe social; não escolhemos nascer surdos-mudos, entre pedintes ou doentes de sífilis, ou com o vírus da sida, ou numa família milionária e incrívelmente talentosa. Antes de mais somos convidados da vida e desta terra que sistematicamente pilhamos, roubamos, destruímos, poluímos, como é sabido. Acredito que temos de aprender a comportarmo-nos como convidados uns dos outros para sobrevivermos; que os judeus estão condenados a este destino particular e trágico de tentarem viver com esta tarefa difícil de se sentirem em casa em qualque parte. Já me senti em casa em muitas, muitas terras."

Lydia Davis
"Heart weeps.
Head tries to help heart.
Head tells heart how it is, again:
You will lose the ones you love. They will all go. But even the earth will go, someday.
Heart feels better, then.
But the words of head do not remain long in the ears of heart.
Heart is so new to this.
I want them back, says heart.
Head is all heart has.
Help, head. Help heart."

Susan Sontag
"Porquê situar um romance no passado?
Para evitar as inibições relacionadas com a minha noção de contemporâneo, a minha sensação de que o modo como agora vivemos, sentimos e pensamos se degradou e aviltou."

W. H. Auden
"Escrever críticas maldosas pode ser divertido, mas acho que não é bom para o carácter."

"Acho que se os homens soubessem o que as mulheres comentam entre si sobre eles, a humanidade estaria condenada à extinção."

"Acho que a política externa deveria sair sem dúvida da alçada masculina. Os homens poderiam continuar a construir máquinas, mas seriam as muheres a decidir que máquinas deviam ser construídas. As mulheres são muito mais sensatas."

"Lembro-me da história do homem que atendeu o telefone e ficou ali retido durante o que pareceu tempo interminavel. A senhora não se calava. Por fim, em desepero, ele disse:"A sério, tenho de desligar. O telefone está a tocar!"

[Vilis · Rating 4 out of 5]

Būtu muļķīgi par interviju gramatu runāt paša vārdiem, tāpēc piedāvāju aprakstu ar runātāju teikumiem. Pa vienam no katra. “Rakstnieks piešķir dzīvei formu. Visi romāni ir par kādu minoritāti: katrs indivīds ir minoritāte. Vislabāk, ja maza deva autobiogrāfijas ir sajaukta ar krietnu daudzumu iztēles. Rakstnieki mēdz rakstīt daudz, taču reti kurš uzraksta vairāk kā tikai mazu drusku īstenības. Tēvs man teica, ka divdesmitpiecgadīgs autors rakstot saka piecdesmitgadniekiem, ka pasaule vairs nav tāda: tā ir šāda. Lielos stāstos tomēr ir ne tikai liela doma, bet arī īpašs domas izpausmes veids: vārdu savirknējums, valodas skanīgums… Rakstnieks tēlam var piešķirt dziļuma ilūziju, rādot viņu šķietami stereoskopiskā veidā, no diviem dažādiem skatupunktiem; rakstnieks var tikai kaut ko pastāstīt vai noklusēt par tēlu, viņš nevar lasītājam dot kvalitatīvi atšķirīgu informāciju. Būtu traki, ja darba skaidrojums būtu meklējams ārpus teksta.

“Manuprāt, romānu rakstīt nav vērts, ja vien neesi pieķēries kam tādam, pie kā varētu aplauzties. Ja kādam nevajag būt par rakstnieku, ja kāds domā, ka varētu darīt arī ko citu, tad viņam arī vajadzētu darīt to citu. Rakstīšanas tehniskais process, rakstnieka darbs ir dabiski vientulīga nodarbe. Es katru dienu stundām ilgi sēžu viens pats istabā. Sekoju tam, ko redzu uz papīra: teikumu pēc teikuma. Ja mākslai ir, kā man šķiet, patiesi transcedentāla funkcija – ja tā mums ļauj pacelties no mūsu ierobežotības un naivuma – rakstīšanas laika garastāvoklim vai sajūtām nevajadzētu būt nozīmei. Manuprāt, labs redaktors ir vīrs, kurš man šķiet šarmants, kurš man sūta lielus čekus, slavē manu darbu, izskatu un seksualitāti, un kurš ir labi apvārdojis izdevēju un banku. Bet tā tik tāda piebilde.”

[Niklas Pivic · Rating 4 out of 5]

Another solid volume of interviews, introducing me to Georges Simenon's wafty yet lucid way of going about writing (few rules, yet strictly governed by himself), John Cheever (even more out there, with some great points and interesting observations on writing and life), Ted Hughes getting me angry from his oh-Plath's-stuff-must've-been-displaced way of going about things...

The really, really interesting interviews are in my mind those with Martin Amis and Raymond Carver. Where Amis compares himself with his famous writer father (Kingsley Amis) and talks of how they differ and are very similar, not to mention how Martin Amis separates journalism from creative writing. Raymond Carver seems brutally honest in a gentle way, being very frank about his alcoholism and generally coming across as a writer I shall very much look forward to read.

Salman Rushdie comes across as a lad, really, but a well-read and quite funny lad. Not like Jan Morris, who talks about travel fiction, writing techniques, travels and his transexuality in relation to how if affects and has affected him as a writer, especially in relation to his trilogy books which he started writing as John Morris. Evelyn Waugh comes across as an Oscar Wilde-ish person, somewhat blasé.

Norman Mailer concludes the book in good fashion. He's a pretty down-to-earth interviewee and very interesting. Some nice points on Truman Capote.

All in all, another very interesting book.

[S. Kallahan · Rating 5 out of 5]

Always well worth the read.

[Clark · Rating 4 out of 5]

Another outstanding collection of interviews from the Paris Review. I basically feel like these books are master classes in writing. This particular edition felt just a bit more uneven than volume 1, but there are still plenty of incredible insights into the process of writing. Special mention has to go out to Raymond Carver for a very forthcoming and incredibly intriguing interview. I also really enjoyed the interviews with Joyce Carol Oates, John Cheever, Norman Mailer, Jan Morris and Ted Hughes. Martin Amis kind of sounds like an uninteresting dick. Unclear if his personality carries through to his work, though I will likely never find out.

[Olivia · Rating 5 out of 5]

This book was such a pleasure to read. It collects interviews from as early as 1955, and is a strong display of the quirks, charms and genius of those interviewed. Some of the most engaging interviews were with Isak Dinesen, William Carlos Williams (and his wife), and John Cheever. A few authors were almost insufferable (cough...Martin Amis...cough...Norman Mailer) but others, like Jan Morris, were really illuminating. The collection does a great job setting the scene of each conversation, and includes one scribbled out manuscript page per author, that gives us another valuable glimpse into their process.

[j_ay · Rating 4 out of 5]

Ralph Ellison ***** (5 stars)
Georges Simenon ****o
Isak Dinesen ****o
Evelyn Waugh ***oo
William Carlos Williams ****o
Harold Pinter ****o
John Cheever ****o
Joynce Carol Oates ****o
Jean Rhys ****o
Raymond Carver ****o
Chinua Achebe ****o
Ted Hughes ****o
Jan Morris ****o
Martin Amis ****o
Salman Rushdie *oooo
Norman Mailer ****o

[Jim · Rating 5 out of 5]

If your a writer you will love this book of interviews with the likes of Harold Pinter, William Carlos Williams and Martin Amis. The interviewers take their time and most of the interviews take place over a number of meetings. You can read an in depth review on my website.

[Jennifer]

I'm loving these interviews. I cherry-picked some in vol. II as I wanted to read Alica Munro's first (she's so thoughtful and humble), but I'm reading vol. III's pieces straight through. Some favorites so far, in the collections (though I haven't yet got my hands on vol. I): Munro, Eudora Welty, Faulker (boy does he take himself seriously!), Ralph Ellison

[Charles · Rating 5 out of 5]

I read the previous two books of interviews in this series, with writers as varied as Truman Capote, Papa Hemingway, William Faulkner, Robert Penn Warren, and James Thurber. Just read a review of this one in the Wall Street Journal. Looks good.

[Dr.abdullah H · Rating 5 out of 5]

The interview questions was exactly on the spot. the writers werent hiding anything here.
It makes you feel So connected, No small talk. Too obsessive, too complicated but solving their puzzles was of pure joy.
Thanks

bought it from Shakespeare and Co.

[Boweavil · Rating 3 out of 5]

Many of these interviews are fascinating, but I didn't read all of them. The words of the writers I have not read did not hold me and some of these are just too long, chatty and repetitive. It's the sort of book to pick up and put down when you have 15 minutes.

[Leah W · Rating 4 out of 5]

I really liked this collection... stronger than 2, not quite as good as 1, and now it's time to pick up 4, which came out on 10/27.