Paris Review - Writers, Quotes, Biography, Interviews, Artists
https://www.theparisreview.org/
The Paris Review is a literary magazine featuring original writing, art, and in-~~~~~~
From Wikipedia, the free encyclopedia
 The Paris Review, Issue 1 | |
| Editor | Lorin Stein |
|---|---|
| Categories | Art, culture, interviews, literature |
| Frequency | Quarterly |
| Publisher | Susannah Hunnewell |
| First issue | Spring 1953 |
| Company | The Paris Review Foundation |
| Country | United States |
| Based in | New York City (since 1973) |
| Language | English |
| Website | www.theparisreview.org |
| ISSN | 0031-2037 |
The Paris Review is a quarterly English language literary magazine established in Paris in 1953[1] by Harold L. Humes, Peter Matthiessen, and George Plimpton. In its first five years, The Paris Review published works by Jack Kerouac, Philip Larkin, V. S. Naipaul, Philip Roth, Terry Southern, Adrienne Rich, Italo Calvino, Samuel Beckett, Nadine Gordimer, Jean Genet, and Robert Bly.
The Review's "Writers at Work" series includes interviews with Ezra Pound, Ernest Hemingway, Truman Capote, Joan Didion, T. S. Eliot, Ralph Ellison, William Faulkner, Thornton Wilder, Hunter S. Thompson, Elizabeth Bishop, Garrison Keillor, and Vladimir Nabokov, among many hundreds of others. The series has been called "one of the single most persistent acts of cultural conservation in the history of the world."[2]
The headquarters of The Paris Review moved from Paris to New York City in 1973. Plimpton edited the Review from its founding until his death in 2003; Lorin Stein has been editor since 2010.[3]
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"In 'Finks: How the CIA Tricked The World’s Best Writers,' Joel Whitney, co-founder and editor-at-large of Guernica: A Magazine of Arts and Politics, has written an essential book on a small but key part of the prehistory of this hijacking of culture: the story of how The Paris Review and other magazines from the 1950s on were funded and backed by the CIA and became a central force in pushing leading writers of the day to produce propaganda for a hungry yet unsuspecting audience. The CIA even developed a large art collection in its curious approach to cultural hegemony."
