Posts Tagged ‘Jason Epstein’
April 7, 2016 | by Susannah Hunnewell
In 1999, Edwin Frank founded New York Review Books to reintroduce out-of-print works—many in first translations from around the world—to the reading public. “From the beginning, it was our intention to be resolutely eclectic, and build our classics series as different voices build a fugue,” Frank told the New York Times last year. “We set out to do the whole mix of things that a curious person might be interested in, which would take you back and forth from fiction to certain kinds of history.” In the last seventeen years, you’ve likely picked up a New York Review Book—maybe because you were taken with its arresting design, or because you recognized a work you didn’t know by a major author: Walt Whitman’s unexpurgated Drum-Taps, say, or unpublished stories by Chekhov, or new versions of Aeschylus and Balzac, Dante and Euripides, or essay collections by Sartre, Lionel Trilling, Renata Adler, and Janet Malcolm.
Since its inception, the series has won dozens of awards for its translations; the New York Times chose Magda Szabó’s The Door as one of the ten best books of 2015. New York Review Books have met not just with critical plaudits but commercial success, which naturally leads the curious reader to wonder: Who is Edwin Frank, anyway? We met in his apartment in Park Slope, Brooklyn to discuss his process: how he finds the books he publishes and what provokes his interest. Frank has a soft-spoken manner and a reader’s excellent dispatch of vocabulary, but he clearly enjoys regular punctuations of loud laughter, provoked by his knowing, bone-dry sense of humor.
You’ve published two books of poetry. Has your background as a poet affected your tastes as an editor?
Well you could say that reading and writing poetry saved me from ever being a professional reader or writer. I had a Stegner Fellowship after college, but the main thing I took away from it was a permanent aversion to the world of writing programs, and poetry is also a pretty effective inoculation against commercial publishing. And I was always sure that I wanted to have nothing to do with the academic study of literature. Then again, poetry did in some sense lead me to publishing—a kind of gateway drug—since in the nineties my friend Andy McCord and I started a small press, Alef Books, in which we published Joseph Lease, Ilya Kutik, Melissa Monroe, Michael Ruby. But that was a labor of love. In fact I came to editing very late, in my midthirties, which is unusual in publishing, a business people mostly go into right after college. It was a lucky break. I needed a job and I thought that having put out a handful of books of poems would make me of interest to publishers, which of course was dead wrong.
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What We’re Loving: Adventures in Silhouette; Red Sauce, Whiskey, and Snow; the Narcissistic Hypocrisy at the Center of Human Nature
January 3, 2014 | by The Paris Review
I’m embarrassed to admit that I barely touched a book over the holidays (besides 84, Charing Cross Road, which I’m in the habit of rereading most years around Christmastime), but I did see a spectacular movie whose imagery I can’t get out of my head. In 1923, a talented artist named Lotte Reiniger was approached by a banker looking to make an investment. He suggested that Reiniger parlay her particular skill—cutting delicate silhouette art—into making a feature-length animated film. Three years and over 250,000 hand-cut images later, The Adventures of Prince Achmed premiered in Berlin. The story is a mélange of tales from the Thousand and One Nights, but good luck paying attention to the plot; the visuals are so arresting that they’ll keep you from focusing on more than one character or bit of pattern during any given scene. The original print of Prince Achmed is lost—a casualty of the Battle of Berlin, in 1945—but thanks to a restoration project completed a little over ten years ago, a fully colorized (and scored!) version is available on DVD from Milestone Films. —Clare Fentress
I’m a sucker for culinary memoirs by authors who aren’t primarily considered “food writers”—a genre that includes work by such varied names as A. J. Liebling, Laurie Colwin, and Jim Harrison. (The Pat Conroy Cookbook and The Roald Dahl Cookbook, respectively, also deserve honorable mentions.) Jason Epstein is best known as a publisher and cofounder of The New York Review of Books, but he’s also an accomplished cook and gourmet. Eating, the 2009 collection of Epstein’s food essays, covers family recipes, his days working as a professional cook, and, of course, the memorable meals he has shared with various literary luminaries. Although Eating is by no means gossipy or indiscreet (the only one who comes under the knife is Roy Cohn, with whom Epstein once lunched at 21), it’s filled with terrific vignettes; one could do worse than lunch, on a ship, with Edmund Wilson and Buster Keaton—“lobster over linguine with a bottle of Chablis beneath a perfect sky.” —Sadie O. Stein
Not long ago—but long enough that I’ve forgotten how it happened—I asked you to explain why exactly the rediscovery of Aristotle, from Arabic sources, mattered so much to medieval theologians. You recommended Étienne Gilson’s 1938 classic primer Reason and Revelation in the Middle Ages. Over the vacation a copy arrived at my house from a used bookstore, without any note. I’ve read Gilson’s lectures with great pleasure, and a keen sense of intellectual relief, but I can’t think who you are. Who are you? —Lorin Stein Read More »
May 7, 2012 | by The Paris Review
On April 3, Robert Silvers accepted the Paris Review’s Hadada Prize for a strong and unique contribution to literature. These were his remarks.
When something like this evening happens, you ask how you got here, and I thought back to the autumn of 1954, when I was a soldier at NATO military headquarters—called SHAPE—near Paris. One of the best things about working there was that, by some international understanding, practically everyone had Wednesday afternoon off—you could go to the Louvre, you could go to the Café de Flore. And there, one Wednesday afternoon, at the kiosk in front of the Flore, I bought a copy of The Paris Review and took it back to our international barracks at Rocquencourt and read it in my bunk. I thought I should know more about it.Read More »
April 27, 2012 | by Sadie Stein
February 4, 2011 | by The Paris Review
Read this fascinating story on The Atavist about Teddy Weatherford—the Count Basie of the East—who would perform on both sides of the Pacific in a white sharkskin suit. He died not long before the end of World War II, and at his funeral, forty thousand Calcuttans mourned his death. These days, he’s often not much more than a footnote in most jazz histories. —Thessaly La Force
Jason Epstein has always been the most forward-looking of publishers. He invented the trade paperback, cofounded The New York Review of Books and the Library of America, and hit on the Amazon model—alas, before there was a Web. At eighty-three, he still explains the business better than anyone. If you want to know how publishing works—and why, increasingly, it doesn’t—read his latest in the Review. —Lorin Stein
Straining to inject some topicality into my reading, I ferreted out a copy of Amitav Ghosh’s beguiling blend of travelogue, memoir, and anthropological study, In an Antique Land. Calcutta-born Ghosh moves to the Egyptian village of Lataifa where he researches the correspondence of a twelfth-century Jewish Tunisian merchant, while observing the daily lives of his contemporary Muslim neighbors. Although he recognizes the incongruity of his own presence, Ghosh crafts an elegant meditation on the wayward tracks left by history that emphasizes the long, whispered conversation between cultures over those noisier moments of confrontation. Next on the list: Border Passage by Leila Ahmed. —Jonathan Gharraie