n+1 Foundation

This is her break. Her good thing. She refers to it as her Success. The money is enough to quit Bill’s, leave that stupid town, accept an internship in London. For a year or so, at the parties she now attends, she regularly brings it up. Crazy, isn’t it, what some people will pay for a piece of cardboard?

Please join us for a night of cocktails, hors d’oeuvres, and music to celebrate “the best goddamn literary magazine in America” (Mary Karr). Thursday, June 11 7 o’clock in the evening Weylin

Please join n+1 at our office in Greenpoint for reading and drinks in celebration of Issue 53: EXCURSIONS! Featuring readings by Morley Musick, Angelo Hernandez Sias, Will Tavlin, Mina Tavakoli, Dennis M. Hogan, Gillian Linden, Nicholas Dames, and Mariana Mogilevich.

Join n+1 translation columnist Bela Shayevich at the n+1 office in Brooklyn on the evening of Tuesday, May 19 for a translation mixer and mini-workshop for translators and the translation-curious.

[Anonymous] sent me several questions about translation. She worried that they were somehow “too remedial,” but they were actually something worse: ancient, unanswerable debates. Take this one: “How much ‘editing’ of an author when translating is considered permissible? What is the outer limit of acceptable on that score?”

You wanted it to stay a haven when all was lost: Kamal Adwan hospital, where even rocked by bombs and raids, you fostered all the small possibilities of care. The soldiers vacated. You found those patients whose safety ceased being yours to bear and let them sleep beneath the courtyard square.

This might just be the most cynical—and thus true-to-life—entry in the Woman With a Magazine Job canon.

By the 1990s, there were even times when a channel surfer, perhaps startled by the abrasive industrial techno opening sequence of Kluge’s show 10 vor 11, might have clicked away, only to land on another even more puzzling Kluge production. Kluge didn’t mind that his shows occasionally aired at the same time; on the contrary, he saw it as an opportunity for channel flippers to participate in the production process by creating montages of their own.

Cárdenas engages the arid landscape, the dead tree, the dried-out wood, and sculpts into existence a beginning—a way into the future eked out of a barren present.

Klosterman may often be subversive, kind of lazily seditious, but he is, clearly, self-aware about his counterrevolutionary inclinations, accepting and even celebrating football as a stabilizing—some might say paralyzing—force on the American imagination.