Following an overhaul, the Paris Review has a new editor, a new staff, and a new vibe. storyshaped reports
Front row : Niela Orr, Lori Dorr, Matthew Higgs, Emily Stokes, Sophie Haigney, Jane Breakell, and Olivia Kan-Sperling. Back row: Amanda Gersten, Na Kim, Lidija Haas, Jay Graham, and Oriana Ullman. Photo: Victor Llorente The Paris Review has come a long way from its founding team of “Tall Young Men,” in the words of Irwin Shaw, a man solicited by the Review because, according to the first managing editor, he was a “hard-drinking writer with a good-looking wife.
The shift can be felt in the Paris Review’s Pentagram-led re-design. The book is now smaller and softer, moving away from the glamorous yet forbidding aura of the magazine’s past. “I wanted it to be an exquisite object that wasn’t precious and to feel really classic but not at all nostalgic,” Stokes says. The result is a text equally suited to being displayed on a coffee table or stuffed in a coat pocket.
The Review recently held the Spring Revel, its yearly fund-raising event, where Jamaica Kincaid was presented with a lifetime-achievement award. Kincaid is the subject of the “Art of Fiction” interview with Darryl Pinckney in the spring 2022 issue, the product of seven years of conversations. Stokes had to gently hurry the interview to conclusion. “They’re really inefficient,” she says of the interviews. “They’re really deep.
Stokes is comfortable taking time to get things right. The magazine skipped its fall 2021 issue to focus on resettling into the Chelsea office and implementing the redesign, emerging from the hiatus with a bright watercolor of two red cherries by Rose Wylie on the winter 2021 cover. According to deputy editor Lidija Haas, the image is of a piece with the magazine’s new ethos as well as the material they’re trying to bring in.
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