{"product_id":"the-paris-review-no-257-fall-2026","title":"The Paris Review No. 257, Fall 2026","description":"\u003cp\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.theparisreview.org\/back-issues\/257\" target=\"_blank\" rel=\"noopener\"\u003ePreview issue no. 257 at theparisreview.org\u003c\/a\u003e.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eSvetlana Alexievich on the Art of Oral History: “If you cut straight to the part you need, which is what journalists do, it won’t be interesting, and it won’t be the truth, either. Not the whole truth.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDonald Antrim on the Art of Fiction: “I deplored the idea that writing involves suffering, that it had to be a bloodletting. Later I found out that it would be, and maybe should be.”\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eProse by Eka Kurniawan, Angie Sijun Lou, Brian Ma, Scott McClanahan, Sam McKinniss, Tomoka Shibasaki, and Woo Dayoung.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePoetry by Asha Futterman, Zakaria Mohammed, Geoffrey G. O’Brien, Vasko Popa, Diane Seuss, and Natalie Shapero.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eArt by Gertrude Abercrombie, Silke Otto-Knapp, and Laura Owens; cover by Elizabeth Glaessner.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Paris Review","offers":[{"title":"Default Title","offer_id":46600492974159,"sku":"TPRN257","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0053\/4582\/files\/TPR_257_Cvr.jpg?v=1788371763","url":"https:\/\/store.theparisreview.org\/products\/the-paris-review-no-257-fall-2026","provider":"The Paris Review","version":"1.0","type":"link"}