The New York Review of Books

''The New York Review of Books'' (or ''NYREV'' or ''NYRB'') is a semi-monthly magazine with articles on literature, culture, economics, science and current affairs. Published in New York City, it is inspired by the idea that the discussion of important books is an indispensable literary activity. ''Esquire'' called it "the premier literary-intellectual magazine in the English language." In 1970, writer Tom Wolfe described it as "the chief theoretical organ of Radical Chic".

The ''Review'' publishes long-form reviews and essays, often by well-known writers, original poetry, and has letters and personals advertising sections that had attracted critical comment. In 1979 the magazine founded the '' London Review of Books'', which soon became independent. In 1990 it founded an Italian edition, ''la Rivista dei Libri'', published until 2010. The ''Review'' has a book publishing division, established in 1999, called New York Review Books, which publishes reprints of classics, as well as collections and children's books. Since 2010, the journal has hosted a blog written by its contributors. The ''Review'' celebrated its 50th anniversary in 2013. A Martin Scorsese film called '' The 50 Year Argument'' documents the history and influence of the paper over its first half century.

Robert B. Silvers and Barbara Epstein edited the paper together from its founding in 1963 until Epstein's death in 2006. From then until his death in 2017, Silvers was the sole editor. Ian Buruma became editor in September 2017 and left the post in September 2018. Gabriel Winslow-Yost and Emily Greenhouse became co-editors in February 2019; in February 2021 Greenhouse was made editor.

History and description

Early years

''The New York Review'' was founded by Robert B. Silvers and Barbara Epstein, together with publisher A. Whitney Ellsworth and writer Elizabeth Hardwick. They were backed and encouraged by Epstein's husband, Jason Epstein, a vice president at Random House and editor of Vintage Books, and Hardwick's husband, poet Robert Lowell. In 1959 Hardwick had published an essay, "The Decline of Book Reviewing", in '' Harper's'',Hardwick, Elizabeth
"The Decline of Book Reviewing"
''Harpers'', October 1959, accessed March 16, 2013 where Silvers was then an editor, in a special issue that he edited called "Writing in America". Gevisser, Mark. "Robert Silvers on the Paris and New York ''Reviews''", '' The Paris Review'', March 20, 2012Fassler, Joe
"A 50-Year Protest for Good Writing"
''The Atlantic'', October 1, 2014 Her essay was an indictment of American book reviews of the time, "light, little article that she decried as "lobotomized", passionless praise and denounced as "blandly, respectfully denying whatever vivacious interest there might be in books or in literary matters generally." The group was inspired to found a new magazine to publish thoughtful, probing, lively reviews featuring what Hardwick called "the unusual, the difficult, the lengthy, the intransigent, and above all, the ''interesting''".Cooke, Rachel
"Robert Silvers interview: 'Someone told me Martin Scorsese might be interested in making a film about us. And he was'"
''The Observer'', ''The Guardian'', 7 June 2014

During the 1962–63 New York City newspaper strike, when ''The New York Times'' and several other newspapers suspended publication, Hardwick, Lowell and the Epsteins seized the chance to establish the sort of vigorous book review that Hardwick had imagined.Jason Epstein recounts the story of the initial meeting of the Epsteins, Hardwick and Lowell i
"A Strike and a Start: Founding The New York Review"
''NYR Blog'', ''The New York Review of Books'', March 16, 2013 Jason Epstein knew that book publishers would advertise their books in the new publication, since they had no other outlet for promoting new books. The group turned to the Epsteins' friend Silvers, who had been an editor at '' The Paris Review'' and was still at ''Harper's'',Brown, Andrew
"The writer's editor"
''The Guardian'', January 24, 2004 to edit the publication, and Silvers asked Barbara Epstein to co-edit with him. She was known as the editor at Doubleday of Anne Frank's ''Diary of a Young Girl'', among other books, and then worked at Dutton, McGraw-Hill and '' The Partisan Review''.McGrath, Charles
"Barbara Epstein, Editor and Literary Arbiter, Dies at 77"
''The New York Times'', June 17, 2006, accessed March 21, 2012 Silvers and Epstein sent books to "the writers we knew and admired most. ... We asked for three thousand words in three weeks in order to show what a book review should be, and practically everyone came through. No one mentioned money." The first issue of the ''Review'' was published on February 1, 1963, and sold out its printing of 100,000 copies.Schudel, Matt.

''The Washington Post'', June 19, 2006, p. B05 It prompted nearly 1,000 letters to the editors asking for the ''Review'' to continue. ''The New Yorker'' called it "surely the best first issue of any magazine ever."

''Salon'' later commented that the list of contributors in the first issue "represented a 'shock and awe' demonstration of the intellectual firepower available for deployment in mid-century America, and, almost equally impressive, of the art of editorial networking and jawboning. This was the party everyone who was anyone wanted to attend, the Black and White Ball of the critical elite."Howard, Gerald
"Out of a newspaper strike dawned a new age in American letters"
''Salon'', February 1, 2013 The ''Review'' "announced the arrival of a particular sensibility ... the engaged, literary, post-war progressive intellectual, who was concerned with civil rights and feminism as well as fiction and poetry and theater.Haglund, David, Aisha Harris, and Alexandra Heimbach
"Was This the Best First Issue of Any Magazine Ever?"
''Slate'' magazine, February 1, 2013 The first issue projected "a confidence in the unquestioned rightness of the liberal consensus, in the centrality of literature and its power to convey meaning, in the solubility of our problems through the application of intelligence and good will, and in the coherence and clear hierarchy of the intellectual world". After the success of the first issue, the editors assembled a second issue to demonstrate that "the ''Review'' was not a one-shot affair". The founders then collected investments from a circle of friends and acquaintances, and Ellsworth joined as publisher. The ''Review'' began regular biweekly publication in November 1963."The New York Review of Books Announces its 50th Anniversary"
''Book Business'' magazine, January 31, 2013

Silvers said of the editors' philosophy, that "there was no subject we couldn't deal with. And if there was no book n a subject we would deal with it anyway. We tried hard to avoid books that were simply competent rehearsals of familiar subjects, and we hoped to find books that would establish something fresh, something original." In particular, "We felt you had to have a political analysis of the nature of power in America – who had it, who was affected". The editors also shared an "intense admiration for wonderful writers".Benson, Heidi
"New York Review of Books' Robert Silvers"
''San Francisco Chronicle'', November 9, 2008 But, Silvers noted, it is a mystery whether "reviews have a calculable political and social impact" or will even gain attention: "You mustn't think too much about influence – if you find something interesting yourself, that should be enough." Well-known writers were willing to contribute articles for the initial issues of the ''Review'' without pay because it offered them a chance to write a new kind of book review. As Mark Gevisser explained: "The essays ... made the book review form not just a report on the book and a judgment of the book, but an essay in itself. And that, I think, startled everyone – that a book review could be exciting in that way, could be provocative in that way." Early issues included articles by such writers as Hardwick, Lowell, Jason Epstein, Hannah Arendt, W. H. Auden, Saul Bellow, John Berryman, Truman Capote, Paul Goodman, Lillian Hellman, Irving Howe, Alfred Kazin, Anthony Lewis, Dwight Macdonald, Norman Mailer, Mary McCarthy, Norman Podhoretz, Philip Rahv, Adrienne Rich, Susan Sontag, William Styron, Gore Vidal, Robert Penn Warren and Edmund Wilson. The ''Review'' pointedly published interviews with European political dissidents, including Alexander Solzhenitsyn, Andrei Sakharov and Václav Havel.

Since 1979

During the year-long lockout at ''The Times'' in London in 1979, the ''Review'' founded a daughter publication, the '' London Review of Books''. For the first six months this journal appeared as an insert in the ''New York Review of Books'', but it became an independent publication in 1980. In 1990 the ''Review'' founded an Italian edition, ''la Rivista dei Libri.'' It was published for two decades until May 2010.

For over 40 years, Silvers and Epstein edited the ''Review'' together. In 1984, Silvers, Epstein and their partners sold the ''Review'' to publisher Rea S. Hederman, who still owns the paper,McLure, Jason and Ilenia Caia
"Fired by family, Hederman made ''New York Review'' second act"
''Global Journalist'', January 11, 2016 but the two continued as its editors. In 2006, Epstein died of cancer at the age of 77. In awarding to Epstein and Silvers its 2006 Literarian Award for Outstanding Service to the American Literary Community, the National Book Foundation stated: "With ''The New York Review of Books'', Robert Silvers and Barbara Epstein raised book reviewing to an art and made the discussion of books a lively, provocative and intellectual activity.""Robert Silvers and Barbara Epstein to Be Honored"
Press release from The National Book Foundation (2006)

After Epstein's death, Silvers was the sole editor until his own death in 2017. Asked about who might succeed him as editor, Silvers told ''The New York Times'', "I can think of several people who would be marvelous editors. Some of them work here, some used to work here, and some are just people we know. I think they would put out a terrific paper, but it would be different." In 2008, the ''Review'' celebrated its 45th anniversary with a panel discussion at the New York Public Library, moderated by Silvers, discussing "What Happens Now" in the United States after the 2008 election of Barack Obama as president. Panelists included ''Review'' contributors such as Didion, Wills, novelist and literary critic Darryl Pinckney, political commentator Michael Tomasky, and Columbia University professor and contributor Andrew Delbanco. The 45th anniversary edition of the ''Review'' (November 20, 2008) began with a posthumous piece by Edmund Wilson, who wrote for the paper's first issue in 1963.

In 2008, the paper moved its headquarters from Midtown Manhattan to 435 Hudson Street located in the West Village.Neyfakh, Leon
"What's New at The New York Review of Books?"
''The New York Observer'', December 13, 2007 In 2010, it launched a blog section of its website that ''The New York Times'' called "lively and opinionated", and it hosts podcasts. Asked in 2013 how social media might affect the subject matter of the ''Review'', Silvers commented:

"I might imagine witty, aphoristic, almost Oscar Wildean nthology ofremarks, drawn from the millions and millions of tweets. Or from comments that follow on blogs. ... Facebook is a medium in which privacy is, or at least is thought to be, in some way crucial. ... And so there seems a resistance to intrusive criticism. We seem at the edge of a vast, expanding ocean of words ... growing without any critical perspective whatever being brought to bear on it. To me, as an editor, that seems an enormous absence." Danner, Mark
"In Conversation: Robert Silvers"
''New York'', April 7, 2013

''The Review'' began a year-long celebration of its 50th anniversary with a presentation by Silvers and several contributors at The Town Hall in New York City in February 2013. Other events included a program at the New York Public Library in April, called "Literary Journalism: A Discussion", focusing on the editorial process at the ''Review'' and a reception in November at the Frick Collection. During the year, Martin Scorsese filmed a documentary about the history and influence of the ''Review'', and the debates that it has spawned, titled '' The 50 Year Argument'', which premiered in June 2014 at the Sheffield Doc/Fest in England. It was later seen at various film festivals, on BBC television and on HBO in the US. Asked how he maintained his "level of meticulousness and determination" after 50 years, Silvers said that the ''Review'' "was and is a unique opportunity ... to do what one wants on anything in the world. Now, that is given to hardly any editor, anywhere, anytime. There are no strictures, no limits. Nobody saying you can't do something. No subject, no theme, no idea that can’t be addressed in-depth. ... Whatever work is involved is minor compared to the opportunity." A special 50th anniversary issue was dated November 7, 2013. Silvers said:

An independent, critical voice on politics, literature, science, and the arts seems as much needed today as it was when Barbara Epstein and I put out the first edition of the ''New York Review'' fifty years ago – perhaps even more so. Electronic forms of communication grow rapidly in every field of life but many of their effects on culture remain obscure and in need of new kinds of critical scrutiny. That will be a central concern of the ''Review'' for the years to come.

Ian Buruma, who had been a regular contributor to the ''Review'' since 1985, became editor in September 2017. He left the position in September 2018 after backlash over publishing an essay by Jian Ghomeshi, who has been accused by 20 women of sexual assault, and defending the publication in an interview with '' Slate'' magazine. The ''Review'' stated that it did not follow its "usual editorial practices", as the essay "was shown to only one male editor during the editing process", and that Buruma's statement to ''Slate'' about the staff of the ''Review'' "did not accurately represent their views". Gabriel Winslow-Yost (formerly a senior editor at the ''Review'') and Emily Greenhouse (formerly the managing editor of ''The New Yorker'' and earlier an editorial assistant at the ''Review'') were named co-editors in February 2019; Daniel Mendelsohn, a longtime ''Review'' contributor, was named to the new position of "editor at large". In February 2021, Greenhouse was made editor of the ''Review'', while Winslow-Yost became a senior editor.

Description

The ''Review'' has been described as a "kind of magazine ... in which the most interesting and qualified minds of our time would discuss current books and issues in depth ... a literary and critical journal based on the assumption that the discussion of important books was itself an indispensable literary activity." Each issue includes a broad range of subject matter, including "articles on art, science, politics and literature."McGrath, Charles
"Editor Not Ready to Write an Ending"
''The New York Times'', March 16, 2012 Early on, the editors decided that the ''Review'' would "be interested in everything ... no subject would be excluded. Someone is writing a piece about Nascar racing for us; another is working on Veronese." The ''Review'' has focused, however, on political topics; as Silvers commented in 2004: "The pieces we have published by such writers as Brian Urquhart, Thomas Powers, Mark Danner and Ronald Dworkin have been reactions to a genuine crisis concerning American destructiveness, American relations with its allies, American protections of its traditions of liberties. ... The aura of patriotic defiance cultivated by the ushAdministration, in a fearful atmosphere, had the effect of muffling dissent." Silvers told ''The New York Times'': "The great political issues of power and its abuses have always been natural questions for us."

''The Nation'' gave its view of the political focus of the ''New York Review of Books'' in 2004:

The Review took a vocal role in contesting the Vietnam War. ... Around 1970, a sturdy liberalism began to supplant left-wing radicalism at the paper. As Philip Nobile observed in ... 1974 ... the ''Review'' returned to its roots and became "a literary magazine on the British nineteenth-century model, which would mix politics and literature in a tough but gentlemanly fashion." ... The publication has always been erudite and authoritative – and because of its analytical rigor and seriousness, frequently essential – but it hasn't always been lively, pungent and readable. ... But the election of George W. Bush, combined with the furies of 9/11, jolted the editors. Since 2001, the Review's temperature has risen and its political outlook has sharpened. ... Prominent riters forthe Review ... charged into battle not only against the White House but against the lethargic press corps and the "liberal hawk" intellectuals. ... In stark contrast to ''The New Yorker'' ... or ''The New York Times Magazine'' ..., the ''Review'' opposed the Iraq War in a voice that was remarkably consistent and unified.

Over the years, the ''Review'' has featured reviews and articles by such international writers and intellectuals, in addition to those already noted, as Timothy Garton Ash, Margaret Atwood, Russell Baker, Saul Bellow, Isaiah Berlin, Harold Bloom, Joseph Brodsky, Ian Buruma, Noam Chomsky, J. M. Coetzee, Frederick Crews, Ronald Dworkin, John Kenneth Galbraith, Masha Gessen, Nadine Gordimer, Stephen Jay Gould, Christopher Hitchens, Tim Judah, Murray Kempton, Paul Krugman, Richard Lewontin, Perry Link, Alison Lurie, Peter Medawar, Daniel Mendelsohn, Bill Moyers, Vladimir Nabokov, Ralph Nader, V. S. Naipaul, Peter G. Peterson, Samantha Power, Nathaniel Rich, Felix Rohatyn, Jean-Paul Sartre, John Searle, Zadie Smith, Timothy Snyder, George Soros, I. F. Stone, Desmond Tutu, John Updike, Derek Walcott, Steven Weinberg, Garry Wills and Tony Judt. According to the National Book Foundation: "From Mary McCarthy and Edmund Wilson to Gore Vidal and Joan Didion, ''The New York Review of Books'' has consistently employed the liveliest minds in America to think about, write about, and debate books and the issues they raise."

The ''Review'' also devotes space in most issues to poetry, and has featured the work of such poets as Robert Lowell, John Berryman, Ted Hughes, John Ashbery, Richard Wilbur, Seamus Heaney, Octavio Paz, and Czeslaw Milosz. For writers, the "depth f the articles and the quality of the people writing for it, has made a ''Review'' byline a résumé definer. If one wishes to be thought of as a certain type of writer – of heft, style and a certain gravitas – a ''Review'' byline is pretty much the gold standard."Tucker, Neely
"''The New York Review of Books turns 50''"
''The Washington Post'', November 6, 2013 In editing a piece, Silvers said that he asked himself "if he point in any sentence couldbe clearer, while also respecting the writer’s voice and tone. You have to listen carefully to the tone of the writer’s prose and try to adapt to it, but only up to a point. o change was made without the writers' permission.... Writers deserve the final word about their prose."

In addition to domestic matters, the ''Review'' covers issues of international concern. In the 1980s, a British commentator noted: "In the 1960s he ''Review''opposed American involvement in Vietnam; more recently it has taken a line mildly Keynesian in economics, pro-Israeli but Anti-Zionist, sceptical of Reagan's Latin-American policy". The British newspaper ''The Independent'' has described the ''Review'' as "the only mainstream American publication to speak out consistently against the war in Iraq." On Middle East coverage, Silvers said, "any serious criticism of Israeli policy will be seen by some as heresy, a form of betrayal. ... ch of what we've published has come from some of the most respected and brilliant Israeli writers ... Amos Elon, Avishai Margalit, David Grossman, David Shulman, among them. What emerges from them is a sense that occupying land and people year after year can only lead to a sad and bad result."

Caricaturist David Levine illustrated ''The New York Review of Books'' from 1963 to 2007, giving the paper a distinctive visual image. Levine died in 2009. John Updike, whom Levine drew many times, wrote: "Besides offering us the delight of recognition, his drawings comfort us, in an exacerbated and potentially desperate age, with the sense of a watching presence, an eye informed by an intelligence that has not panicked, a comic art ready to encapsulate the latest apparitions of publicity as well as those historical devils who haunt our unease." Levine contributed more than 3,800 pen-and-ink caricatures of famous writers, artists and politicians for the publication."David Levine Gallery,"
''New York Review of Books'', accessed April 15, 2009 Silvers said: "David combined acute political commentary with a certain kind of joke about the person. He was immensely sensitive to the smallest details – people’s shoulders, their feet, their elbows. He was able to find character in these details." ''The New York Times'' described Levine's illustrations as "macro-headed, somberly expressive, astringently probing and hardly ever flattering caricatures of intellectuals and athletes, politicians and potentates" that were "replete with exaggeratedly bad haircuts, 5 o'clock shadows, ill-conceived mustaches and other grooming foibles ... to make the famous seem peculiar-looking in order to take them down a peg". In later years, illustrators for the ''Review'' included James Ferguson of ''Financial Times''.

''The Washington Post'' described the "lively literary disputes" conducted in the 'letters to the editor' column of the ''Review'' as "the closest thing the intellectual world has to bare-knuckle boxing". In addition to reviews, interviews and articles, the paper features extensive advertising from publishers promoting newly published books. It also includes a popular "personals" section that "share a cultivated writing style" with its articles.Mohan, Jake
"''New York Review of Books'' Podcast Gets Political (Like It or Not)"
October 22, 2008 One lonely heart, author Jane Juska, documented the 63 replies to her personal ad in the ''Review'' with a 2003 memoir, ''A Round-Heeled Woman'', that was adapted as a play. In ''The Washington Post'', Matt Schudel called the personal ads "sometimes laughably highbrow" and recalled that they were "spoofed by Woody Allen in the movie '' Annie Hall''".

Several of the magazine's editorial assistants have become prominent in journalism, academia and literature, including Jean Strouse, Deborah Eisenberg, Mark Danner and A. O. Scott. Another former intern and a contributor to the ''Review'', author Claire Messud, said: "They’re incredibly generous about taking the time to go through things. So much of usiness todayis about people doing things quickly, with haste. One of the first things to go out the window is a type of graciousness. ... There’s a whole sort of rhythm and tone of how they deal with people. I’m sure it was always rare. But it feels incredibly precious now."

The ''Review'' has published, since 2009, the ''NYR Daily'', which focuses on the news.

Critical reaction

''The Washington Post'' calls the ''Review'' "a journal of ideas that has helped define intellectual discourse in the English-speaking world for the past four decades. ... By publishing long, thoughtful articles on politics, books and culture, he editorsdefied trends toward glibness, superficiality and the cult of celebrity". The ''Chicago Tribune'' praised the paper as "one of the few venues in American life that takes ideas seriously. And it pays readers the ultimate compliment of assuming that we do too." ''Esquire'' termed it "the premier literary-intellectual magazine in the English language." Similarly, in a 2006 '' New York'' magazine feature, James Atlas stated: "It's an eclectic but impressive mix f articlesthat has made ''The New York Review of Books'' the premier journal of the American intellectual elite". Atlas, James.
"The Ma and Pa of the Intelligentsia"
''New York'', September 18, 2006 ''The Atlantic'' commented in 2011 that the ''Review'' is written with "a freshness of perspective", and "much of it shapes our most sophisticated public discourse." In celebrating the 35th birthday of the ''Review'' in 1998, ''The New York Times'' commented, "The N.Y.R. gives off rogue intimations of being fun to put out. It hasn't lost its sneaky nip of mischief".

In 2008, Britain's ''The Guardian'' deemed the ''Review'' "scholarly without being pedantic, scrupulous without being dry". The same newspaper wrote in 2004:

The ... issues of the ''Review'' to date provide a history of the cultural life of the east coast since 1963. It manages to be ... serious with a fierce democratic edge. ... It is one of the last places in the English-speaking world that will publish long essays ... and possibly the very last to combine academic rigour – even the letters to the editor are footnoted – with great clarity of language.

In ''New York'' magazine, in February 2011, Oliver Sacks stated that the ''Review'' is "one of the great institutions of intellectual life here or anywhere." In 2012, ''The New York Times'' described the ''Review'' as "elegant, well mannered, immensely learned, a little formal at times, obsessive about clarity and factual correctness and passionately interested in human rights and the way governments violate them."

Throughout its history, the ''Review'' has been known generally as a left-liberal journal, what Tom Wolfe called "the chief theoretical organ of Radical Chic".Wolfe, Tom
"Radical Chic: That Party at Lenny's"
''New York'', June 8, 1970, accessed April 20, 2009 A 1997 ''New York Times'' article, however, accused the paper of having become "establishmentarian". The paper has, perhaps, had its most effective voice in wartime. According to a 2004 feature in ''The Nation'',

One suspects they yearn for the day when they can return to their normal publishing routine – that gentlemanly pastiche of philosophy, art, classical music, photography, German and Russian history, East European politics, literary fiction – unencumbered by political duties of a confrontational or oppositional nature. That day has not yet arrived. If and when it does, let it be said that the editors met the challenges of the post-9/11 era in a way that most other leading American publications did not, and that ''The New York Review of Books'' ... was there when we needed it most.

Sometimes accused of insularity, the ''Review'' has been called "The New York Review of Each Other's Books". Philip Nobile expressed a mordant criticism along these lines in his book ''Intellectual Skywriting: Literary Politics and the New York Review of Books''. ''The Guardian'' characterized such accusations as "sour grapes". Phillip Lopate commented, in 2017, that Silvers "regarded his contributors as worthy authors, and so why punish them by neglecting their latest work?". Lopate, Philip
"Robert Silvers: ''In memoriam''"
'' The American Scholar'', March 31, 2017 In 2008, the ''San Francisco Chronicle'' wrote, "the pages of the 45th anniversary issue, in fact, reveal the actuality of he paper'swillfully panoramic view".

''The Washington Post'' called the 2013 50th Anniversary issue "gaudy with intellectual firepower. Four Nobel Laureates have bylines. US Supreme Court Justice Stephen Breyer muses on reading Proust. There's the transcript of a long-lost lecture by T. S. Eliot." In 2014, Rachel Cooke wrote in ''The Observer'' of a recent issue: "The offer of such an embarrassment of riches is wholly amazing in a world where print journalism increasingly operates in the most threadbare of circumstances". '' America'' magazine echoed Zoë Heller's words about the ''Review'': "I like it because it educates me." Lopate adds that the ''Review'' "was and is the standard bearer for American intellectual life: a unique repository of thoughtful discourse, unrepentantly highbrow, in a culture increasingly given to dumbing down." Timothy Noah of ''Politico'' called it "the country’s best and most influential literary journal. ... It's hard to imagine that Hardwick ... would complain today that book reviewing is too polite."

Book-publishing arm

The book-publishing arm of the ''Review'' is New York Review Books. Established in 1999, it has several imprints: New York Review Books, NYRB Classics, The New York Review Children's Collection, New York Review Comics, NYRB Poets, NYRB Lit and the Calligrams. NYRB Collections publishes collections of articles from frequent ''Review'' contributors. The Classics imprint reissues books that have gone out of print in the US, as well as translations of classic books. It has been called "a marvellous literary imprint ... that has put hundreds of wonderful books back on our shelves."

The Robert B. Silvers Foundation

The Robert B. Silvers Foundation is a charitable trust established in 2017 by a bequest of the late Robert Silvers, a founding editor of ''The New York Review of Books''. Its annual activities include the Silvers Grants for Work in Progress, given in support of long-form non-fiction projects within the fields cultivated by Silvers as editor of the ''Review'', and the Silvers-Dudley Prizes, awarded for notable achievements in journalism, criticism, and cultural commentary.

Archives

The New York Public Library purchased the NYRB archives in 2015.Gajanan, Mahita
"''New York Review of Books'' archive acquired by New York Public Library"
''The Guardian'', November 17, 2015

See also

*''The New York Times Book Review''
* Media in New York City
*'' Granta''

References

External links

*

*Neyfakh, Leon
"Mr. Silvers, Will You Peek at My Books?"
'' New York Observer'', February 6, 2008.
2011 NPR interview of Silvers about the ''Review''
*Danner, Mark
"Editing the ''New York Review of Books'': A Conversation with Robert B. Silvers"
April 28, 1999.

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