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 . . .
For the past 140 years, Anna Karenina has been loved by millions of readers all over the world. It’s easy to see why: the novel’s two main plots revolve around characters who are just trying to find happiness through love.. . .
Linn Ullmann’s The Cold Song, her fifth novel, is built much like the house about which its story orbits: Mailund, a stately white mansion set in the Norwegian countryside a few hours drive from Oslo. The house, nestled into the. . .
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .