Remote Work

Nell Wright

A nail in the stairs, a starburning outbut there are these thresholds, the clickand whir like a realizationwhen the apartment hits some temperature and the heater starts.I know it’s not really a realization.“I don’t believe in object-oriented ontology,” says my friend,and I say, “I know what that means—the foot feels the foot when it feels the ground,”which is wrong, and cradle mine in both hands.Can I still call it knowledge? LatelyI bike not just to get places but to get off the ground:you don’ have to be going somewhere to be somewhere,going. I pedal up the Hudson River Greenway toward the sewage treatment plantin the early dark on Christmas Evealmost no traffic, happy holidays,and watch the moon eat out the convulsing watershamelessly, assiduously, in full public view!This immense, vague category called pleasure.I know language wants specificity, location, momentumI know language doesn’t really want.I know it’s not really a sex act, only sun reflectedon the moon reflected on the water, ghostof a ghost of a day. Not a ghost. Not a day.At the end of the day, as they say,it’s only light against objects. Still I know and want and insist,and the feeling is specific andall lit up, for example, NathalieNathalie, I love you, I’m here in Manhattan going northuntil I turn around, alone with it.

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Nell Wright is a writer, translator, and visual artist whose work has appeared in The Paris Review, The New Yorker, Poem-a-Day, and elsewhere.

Summer 2025

New York, New York

Editor
Emily Stokes

Managing Editor
Kelly Deane McKinney

Poetry Editor
Srikanth Reddy

Since its founding 1953, The Paris Review has been America’s preeminent literary quarterly, dedicated to discovering the best new voices in fiction, nonfiction, and poetry. The Review’s renowned Writers at Work series of interviews is one of the great landmarks of world literature. Hailed by the New York Times as “the most remarkable interviewing project we possess,” the series received a George Polk Award and has been nominated for a Pulitzer Prize. With the December 2016 redesign of the Review’s website, the complete digital archive of everything we’ve published since 1953 is available to subscribers. In November 2017, the Review gave voice to nearly sixty-five years of writing and interviews with the launch of its first-ever podcast, featuring a blend of classic stories and poems, vintage interview recordings, and new work and original readings by the best writers of our time.

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