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.
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. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .