Welcome to the DNA of Literature

Hasta hace unas semanas no era posible, en la página web de The Paris Review acceder a las entrevistas de grandes escritores a menos que desembolsaras unos cuantos euros. Pero hace poco la revista permitió el acceso totalmente gratis a las más de 300 entrevistas. Esto es un respiro cuando hace poco la revista Atlantic Monthly cerró la consulta en línea de sus entrevistas, relatos, y archivos. Las entrevistas se irán lanzando poco a poco. Por lo pronto se encuentra lista toda la década de los 50´s.

"There is no other archive quite like The Paris Review interviews. The National Endowment for the Arts could not be more pleased or more proud than to make this resource available free to the American public."

—Dana Gioia, Chairman of the National Endowment for the Arts

posted by Mauricio Salvador @ 11:44 AM,


At 11:48 AM, Anonymous Noi said...

Che sí la verdad es que eso de acapararse las entrevistas es bastante anodino, suena bastante a "avaricia".
Y bueno en parte es esa lógica un poco idiota de acaparar todo y no compartirlo con nadie. Pero bueno, esperemos que siga así gratarola (gratis).


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John Travolta

John lives in Toronto and is a freelance illustrator and a designer/animator for CHUM Television. He writes about , design, and visual culture under the pseudonym Robot Johnny

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Claire Robertson is an illustrator and toy from Melbourne, Australia. While her illustration clients have included The New York Public Library, Scholastic and Cambridge University Press, it’s her blog that brings her the most joy and which has attracted the most attention with rave reviews in the Wall Street Journal, WIRED Magazine and The Guardian.

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This blog is a multi-author blog devoted to illustration, art, cartooning and drawing. Its purpose is to inspire creativity by sharing links and resources. Albert Einstein said, “The secret to creativity is knowing how to hide your sources,” but what the hell did he know anyway? The site was conceived by John, like all good ideas, while goofing off at work.

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