I just got this along with a note that, “If you feel motivated to respond, please send your comments to both Francine Fialkoff at email@example.com y Ron Shank at firstname.lastname@example.org. There is always the possibility that they may reconsider their decision.”
Dearest friends and colleagues:
It is with much sadness that I inform you that Reed Business Information has decided to shut down publication of Críticas after eight long and successful years. Unfortunately, this means that my time with the company has come to an end.
The publisher stated that ad support has greatly diminished, and given the current economic downtown, there was no sufficient foundation on which to continue with the publication of Críticas. Still, they remain optimistic, adding that they hope to somehow continue coverage of the U.S. Spanish-language book market through sister publications Library Journal, Publishers Weekly, and School Library Journal. Your feedback to the editorial staff of those publications could help to move things in the right direction.
I take this opportunity to thank you all for your encouragement, trust, and support during my time here. I have acquired a wealth of knowledge and have made what I hope will be long-lasting relationships. I walk away with much satisfaction in my efforts and achievements here, as well as with wonderful friendships. I trust our paths will surely cross in the near future as we continue to help grow and solidify the U.S. Spanish-language book market.
My last day in the office is Friday, January 30.
Un fuerte abrazo,
P.S. In case I may have left someone off the distribution list, please do forward this message to our colleagues. Thank you.
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .
The last five days of the eleventh-century Icelandic politician, writer of sagas, and famous murder victim Snorri Sturleleson (the Norwegian spelling, Snorre, is preserved in the book) make up Thorvald Steen’s most recently translated historical fiction, The Little Horse. Murdered. . .
We all know Paris, or at least we think we know it. The Eiffel Tower. The Latin Quarter. The Champs-Élysées. The touristy stuff. In Dominique Fabre’s novel, Guys Like Me, we’re shown a different side of Paris: a gray, decaying. . .
One hundred pages into Birth of a Bridge, the prize-winning novel from French writer Maylis de Kerangal, the narrator describes how starting in November, birds come to nest in the wetlands of the fictional city of Coca, California, for three. . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .