Books

The Secrets We Kept (2019), by Lara Prescott

What, I wonder, does a reputable book publisher like Knopf do, when they’ve p...

Now We Shall Be Entirely Free (2018), by Andrew Miller

Now We Shall Be Entirely Free is my first online review of a novel by Englis...

The Glass Hotel (2020), by Emily St John Mandel

I’ve been having a bit of a binge on the M shelf: nothing to make a serious d...

Today I Have Very Strong Feelings

Manuel C., CC BY-SA 4.0, via Wikimedia Commons. A month ago, Gianni Infantino...

Kafka’s Diaries, 1911

Franz Kafka’s notebook, National Library at Givat Ram, Jerusalem. Public doma...

On Mel Bochner and Sophie Calle

Mel Bochner, Bochner, Die, 2004, acrylic and oil on canvas, 60 x 80″. Courtes...

The Bookseller of Florence (2021), by Ross King

No, this isn’t a review of an historical novel. The Bookseller of Florence is...

The Woman Upstairs (2013), by Claire Messud

All those of us who haunt the Op Shops know the feeling… that title that beck...

Iris (2022), by Fiona Kelly McGregor

Fiona Kelly McGregor is, according to her website a cross-disciplinary author...

LSD Snowfall: An Interview with Uman

Uman, Snowfall: winter in Roseboom #4, 2016–2020 (detail). The Paris Review‘s...

What the Paris Review Staff Read in 2022

From Mary Manning’s portfolio Ciao! in issue no. 242. The sadness of thinking...

The Blackstairs Mountains

Illustration by Na Kim. In the new Winter issue of The Paris Review, Belinda ...

“Security in the Void”: Rereading Ernst Jünger

Ernst Jünger (second from right), via Wikimedia Commons, licensed under CC BY...

Wandering with Intent (2022), by Kim Mahood

Kim Mahood is one of our most interesting thinkers about the interface betwee...

Sweeney and the Bicycles (2022), by Philip Salom

After his foray into coastal Victoria in The Fifth Season, (2020, click here ...

Letter from the Review’s New Poetry Editor

As a new member of the Review’s team, it gives me great pleasure to bring yo...