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Eugene Walter

Interview
Fiction
Feature

Milking the Moon

Eugene Walter was one of those personages who turn up in life and leave, well, an indelible impression in which all personal characteristics—manner, speech, dress and so on—are memorably distinctive. The first time I saw him was in the spring of 1952—an apparition standing in the doorway of the cramped Paris Review office on the rue Garanciere. He was wearing a faded linen suit, the kind plantation owners traditionally wore, at least in the movies, set off with a white panama hat.

The Paris Review Sketchbook

The Paris Review Eagle, or “the bird” as it was referred to, was designed by William Pène du Bois, the magazine’s art editor, in the spring of 1952. The symbolism is not difficult: an American eagle is carrying a pen: the French association is denoted by the helmet the bird is wearing—actually a Phrygian hat originally given a slave on his freedom in ancient times and which subsequently became the liberty cap or bonnet rouge worn by the French Revolutionists of the 19th Century.