Two and a half years ago, the critic and editor John Freeman abruptly resigned his post as editor in chief of Granta, the tweedy British literary magazine that he’d spent several years remaking for a 21st-century readership. His departure—due, he said, to a slashed budget from the magazine’s philanthropist owner that would necessitate unfair staff reductions—prompted a flurry of media coverage, and plenty of hand-wringing over the future of the storied journal, whose publisher, deputy editor, associate editor, and art director followed Freeman out the door. A topic of equal intrigue but considerably less consternation was: Where would Freeman land next?
First, the editor, formerly president of the National Book Critics Circle, published a collection of his own interviews with famous novelists. Then he got to work assembling a book of essays about economic inequality in New York City.
Finally, last summer, Freeman announced the more long-term venture everyone was waiting for: Freeman’s, a Granta-like literary magazine–meets-anthology that he would publish regularly in partnership with Grove Atlantic
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First, the editor, formerly president of the National Book Critics Circle, published a collection of his own interviews with famous novelists. Then he got to work assembling a book of essays about economic inequality in New York City.
Finally, last summer, Freeman announced the more long-term venture everyone was waiting for: Freeman’s, a Granta-like literary magazine–meets-anthology that he would publish regularly in partnership with Grove Atlantic
More
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