Freeman's: Conclusions
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Over the course of ten years, Freeman’s has introduced the English-speaking world to countless writers of international import and acclaim, from Olga Tokarczuk to Valeria Luiselli, while also spotlighting brilliant writers working in English, from Tommy Orange to Tess Gunty. Now, in its last issue, this unique literary project ponders all the ways of reaching a fitting conclusion.
For Sayaka Murata, keeping up with the comings and goings of fashion and its changing emotional landscapes can mean being left behind, while in her poem “Amenorrhea,” Julia Alvarez experiences the end of a line as menstruation ceases. Yet sometimes an end is merely a beginning, as Barry Lopez meditates while walking through the snowy Oregonian landscapes. While Chinelo Okparanta’s story “Fatu” confronts the end of a relationship under the specter of new life, other writers look towards aging as an opportunity for rebirth, such as Honorée Fanonne Jeffers, who takes on the role of being her own elder, comforting herself in the ways that her grandmother used to. Finally, in his comic story “Everyone at Dinner Has a Max von Sydow Story,” Dave Eggers suggests that sometimes stories don’t have neat or clean endings—that sometimes the middle is enough.
With new writing from Sandra Cisneros, Colum McCann, Omar El Akkad, and Mieko Kawakami, Freeman’s: Conclusions is a testament to the startling power of literature to conclude in a state of beauty, fear, and promise.
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JOHN FREEMAN was the editor of Granta until 2013. His books include Dictionary of the Undoing, How to Read a Novelist, Tales of Two Americas, and Tales of Two Planets. His poetry includes the collections Maps, The Park, and Wind, Trees. In 2021, he edited the anthologies There’s a Revolution Outside, My Love with Tracy K. Smith, and The Penguin Book of the Modern American Short Story. An executive editor at Knopf, he also hosts the California Book Club, a monthly online discussion of a new classic in Golden State literature for Alta magazine. His work has appeared in the New Yorker and the Paris Review and has been translated into twenty-two languages.
