From today’s issue of the New York Sun
This morning I write to you about the future of The New York Sun, which is in circumstances that may require us to cease publication at the end of September unless we succeed in our efforts to find additional financial backing. The managing editor, Ira Stoll, who is one of the founding partners in the paper, and I have shared this news with our colleagues, and we would like our readers as well to be aware of the situation. [. . .]
Even many who disagree with the views of our editorial page enjoy reading the Sun. “A fabulous read for culture,” is the way it was described in the Nation. David Remnick of the New Yorker sent a note to say how much he admired what we are doing with the Sun, which he called “just plain good.” He added: “OK, I agree with about ten percent of your editorials, but so what. ... I’m a lot happier, and richer, for having faced the Sun in the a.m.” [. . .]
There has been some success as well on the business side, where a group of loyal advertisers has awakened to our readership and made The New York Sun one of the few newspapers in America to see substantial increases in print advertising revenues not only last year and the year before but also so far this year. Yet even with those gains, the expense of producing and distributing the paper exceeds our revenues. So the Sun has yet to achieve its financial goal of making a profit.
I really hope some investors stop forward . . . Like David Remnick, I’m not a big fan of the editorial vision of the Sun, but damn, its culture section is unbelievably good. I’ve written about my love for the Sun‘s book coverage at least a dozen times over the past year, in part because I’m astounded by the quality of the section. There may not be another paper in the States that covers such a diverse, international set of books. (With a good mix of small and large presses.) I shudder at the thought of not being able to read a Ben Lytal review every week . . .
Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to. . .
The biggest issues with books like The Subsidiary often have to do with their underpinnings—when we learn that Georges Perec wrote La Disparition without once using the letter E, we are impressed. Imagine such a task! It takes a high. . .
Following The Infatuations, Javier Marías’s latest novel seems, like those that have preceded it, an experiment to test fiction’s capacity to mesmerize with sombre-sexy atmospheres and ruminative elongated sentences stretched across windowless walls of paragraphs. Thus Bad Begins offers his. . .
Death by Water, Kenzaburo Oe’s latest novel to be translated into English, practically begs you to read it as autobiography. Like The Changeling, as well as many other works not yet released in English, Death by Water is narrated in. . .
Jocelyne Saucier’s Twenty-One Cardinals is about the type of unique, indestructible, and often tragic loyalty only found in families. For a brief but stunningly mesmerizing 169 pages, Twenty-One Cardinals invited me in to the haunting and intimate world of the. . .
We know so very little; so little that what we think to be knowledge is hardly worth reckoning with at all; instead we ought to settle for being pleasantly surprised if, on the edge of things, against all expectations, our. . .
Many of Virginie Despentes’s books revolve around the same central idea: “To be born a woman [is] the worst fate in practically every society.” But this message is nearly always packaged in easy-to-read books that fill you with the pleasure. . .
Ilja Leonard Pfeijffer’s La Superba is appropriately titled after the Italian city of Genoa, where, after escaping the pressures of fame in his own country, the semi-autobiographical narrator finds himself cataloguing the experiences of its mesmerizing inhabitants with the intention. . .
It took reading 44 pages of Intervenir/Intervene before I began to get a sense of what Dolores Dorantes and Rodrigo Flores Sánchez were up to. Recurring throughout these 44 pages—throughout the entire book—are shovels, shovel smacks to the face, lobelias—aha!. . .
As presaged by its title, contradiction is the theme of Peter Stamm’s novel, All Days Are Night. Gillian, a well-known television personality, remains unknowable to herself. And Hubert, a frustrated artist and Gillian’s lover, creates art through the process of. . .