“I wanted to make room for antiheroes.”

Pavel Zoubok, the curator of our spring portfolio, opened his first gallery space in New York in 1997. Fifteen years later, it remains the only gallery in New York devoted exclusively to collage, though it has, over that time, helped nurture a broad …

Paul Gabrielli is a young deconstructionist sculptor who often works with false trompe l'oeil. His current show, “Generally,” includes a remarkable series of hung sculptures showcasing found, repurposed, and refined objects behind blister packs a…

The winter issue of The Paris Review opens with debut fiction by Alexandra Kleeman, a young writer, part Taiwanese, who was raised in Japan and Colorado. She recently left behind her graduate studies in rhetoric at the University of California at…

Claire Vaye Watkins was born in Nevada and lives in Ohio, where she is putting the finishing touches on a debut collection of stories that all unfold in her home state, from down south in Nye County and Las Vegas, to Reno, Lake Tahoe, Virginia Ci…

“The plug was pulled, but life went on—invigorating life,” Jerry Saltz wrote last fall in a typically optimistic survey of “art after money.” You could hear the refrain everywhere, in galleries and studios, museums and bars: The bull market…

It is with great sadness that The Paris Review has learned of the death of one of its founding editors, Thomas Guinzburg. A Marine veteran awarded the Purple Heart for his service in World War Two, and a former editor of the Yale Daily News, G…

03 marks the beguiling English-language debut of the youngish French writer Jean-Christophe Valtat. The slim book was written in French, and has been published here in a sharp translation by Mitzi Angel, but Valtat writes also in English—or "some i…

In the World Cup, as in any tournament, half of the field is eliminated in the first round, and half again in each succeeding round—a method of crowning a champion devised by Zeno and guaranteed to bring the whole thrilling spectacle to a buyer’s…

The group stage of the 2010 World Cup ends today—the group stage of the first African World Cup, as we’re reminded again and again by the soccer salesmanship masquerading as studio commentary before, during, and after each game. And of the six te…

Among the new heroes of this World Cup one must now count Bob Bradley, the grim, predestinarian U.S. coach—on the silent sideline his presence seems more foreboding than forbearing—much maligned by American fans in the qualifying campaign for his…

Since his 1991 debut “A Quick Kiss of Redemption,” David Means has established himself among the finest and most incisive American writers of contemporary short fiction—and as the member of his generation perhaps most invested in the short form…

It seemed for about a week that this would be a tactical tournament—a dullish Cup, shadowed by Inter’s Champions League triumph, marked by negative play and cautious counterattacking lineups, and ultimately crowning, perhaps more decisively than …

The tournament is still young, of course, and it’s certainly possible things heat up later in the group stage, when more is on the line. But I don’t know of anyone who isn’t complaining about the uninspiring play so far, and, in apportioning bl…

When Brazil and North Korea kick off this afternoon, it will be a one-sided matchup of, perhaps, the two most fashionable teams in the tournament. Brazil’s Seleçao is the tournament’s most skilled team and, under head coach Dunga, might be also its…

There is nationalism, Arthur Koestler said, and then there is football nationalism, the latter being much more deeply felt. But soccer nationalism—soccer nationalism is another thing entirely. For a Brit like Will Frears, English football encode…

When Louise Bourgeois published “The View From the Bottom of the Well,” a seminarrative portfolio of prints, in The Paris Review (Fall 1996), she seemed already to be gazing up from the grave. Bourgeois, who died yesterday at ninety-eight, had been l…