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Brusque Manners in the Jewelry Department

Dear Diary:

When I first moved to New York from the Midwest, I was a little taken aback by the city's pace and slightly rude demeanor, but I quickly learned that brusque manners are merely a disguise for efficiency.

To illustrate, soon after my arrival, I found myself in the jewelry repair department on the eighth floor of Macy's, where several customers were awaiting service. When my turn finally came around, I explained to the harried clerk that I needed a battery replacement for my watch.

Without looking up, he barked, “Name?” I started to spell my last name, but he abruptly cut me off before I could finish, saying with exasperation, “Too long!” and handed me a ticket for pickup.

The letters “MARQ” were written on the top of the ticket.

Now I know how the immigrants at Ellis Island must have felt.

Read all recent entries and our updated submissions guidelines. Reach us via e-mail diary@nytimes.com or follow @NYTMetro on Twitter using the hashtag #MetDiary.



New York Led Region in Population Growth Since 2011, Census Shows

New York added more people since 2011 than all the other cities in the metropolitan area combined, according to a new analysis of census results released Thursday.

The city gained 67,000 people between 2011 and 2012, or .81 percent, a higher growth rate than all but two cities in the region with a population of 100,000 or more: Jersey City, 1.12 percent, and Stamford, .84 percent. But those cities grew by only 2,800 and 1,000, respectively. For the second consecutive year, the city grew faster than its suburbs.

New York's gain of 147,000 since 2010, to more than 8.3 million, approached the 178,000 increase recorded in the entire decade from 2000 to 2010.

Like Boston, Los Angeles and Philadelphia, New York grew faster annually since 2010 than the annual rate during the previous decade.

Kenneth M. Johnson, senior demographer at the Carsey Instititute of the University of New Hampshire, attributed the spurt to fewer people leaving the city because of the lingering effects of the recession.

Among the region's bigger cities, Buffalo, Hartford, Paterson, Rochester, Syracuse and Waterbury recorded declines in population.



Zoo Chief\'s First Tweet Stars a 650-Pound Tortoise

James J. Breheny, director of the Bronx Zoo, is a self-described “dinosaur” when it comes to technology. “I'm an animal guy,” he said. “I'm not a techno guy.”

Yet as he makes his rounds of the zoo, the flagship institution of the Wildlife Conservation Society, Mr. Breheny often makes observations of mammals, birds and reptiles â€" both on public view and behind the scenes â€" that he would like to share. And so, on Thursday (World Turtle Day!) at noon, he sent his inaugural tweet, a photograph of one of his favorite animals, a 650-pound Aldabra tortoise named Rocket that the public will not get to see until early next year.

“We do a lot of conservation work with turtles and tortoises all over the world,” he said in a phone interview before his foray into the world of Twitter. “They're really neat animals, but they are under enormous pressure from the pet trade and from hunters for food. ”

Mr. Breheny, who also oversees the management and exhibition of animal collections at the Central Park Zoo, Prospect Park Zoo, Queens Zoo and New York Aquarium, said he believed that social media like Twitter could enhance the public's understanding of the conservation society's programs and mission. “As I go around the zoo, everybody seems to be really connected electronically and digitally,” he said. “I realized that it can be a valuable tool.”

Once he gets used to expressing himself in 140 characters, Mr. Breheny, using the handle @JimBreheny, hopes to post a couple of times a day. While he insists that he has no favorites in the collection, he hinted that coming tweets are likely to include vignettes from the giraffe exhibit, which he said “looks spectacular right now,” as well as the eagle aviary.

As for his first tweet, Mr. Breheny, a lifelong lover of tortoises and turtles, said that Rocket was a natural subject. Rocket, who joined the Bronx Zoo about two months ago from the Tulsa Zoo (Aldabra tortoises are native to the Seychelles Islands in the Indian Ocean), is thought to be between 80 and 100 years old. He will make his debut next spring in a new komodo dragon exhibit scheduled to open in the fall.

“He's a big boy,” Mr. Breheny said of Rocket. “He's intelligent. And he loves to be scratched.”



An Artist\'s Most Dynamic Creation Is a Place

The yard outside a warehouse in Crown Heights, Brooklyn, that has been transformed into housing and work space for artists.Eric Michael Johnson for The New York Times The yard outside a warehouse in Crown Heights, Brooklyn, that has been transformed into housing and work space for artists.

Kellam Clark did not set out to build an artist colony. He set out to build a boat.

Mr. Clark was just out of college and filled with ambition when he planned to buy a dilapidated sailboat with five friends, find a warehouse big enough to repair it in, then become a famous artist, sail around the world, and teach schoolchildren philosophy and art via a satellite transmission along the way. That was supposed to happen in the span of a couple of months between 1999 and 2000.

Mr. Clark never became a famous artist, or sailed around the world, but he did manage to find a warehouse.

For the past 13 years he has poured his passion and ambition into a sprawling complex on Dean Street in Crown Heights, Brooklyn, transforming it from a moldy abandoned assembly shop into a hot spot for creativity.

“Everyone just assumed I knew how to build a loft, which I didn't,” he said. “So it took forever, and I just lived in it.”

The industrial space Mr. Clark now calls home became a piece of art in itself, providing inspiration to the dozens of transient musicians, writers and creative types who drift through its vast and varied spaces every day.

Dean Street, as the building is called, is not a legal residence, according to city regulations, but that has not stopped its four bedrooms from filling up each night with friends and acquaintances of Mr. Clark, as well as a number of artists and travelers passing through New York.

On a recent Monday a small contingent gathered around the long, home-built wood kitchen table, smoking cigarettes, drinking gin and tonics and listening to 1920s-era jazz.

Roommates in the kitchen of the warehouse that has become an artist colony.Eric Michael Johnson for The New York Times Roommates in the kitchen of the warehouse that has become an artist colony.

“The nature of most of the things I do are creative, and there's something about being in four white walls that really puts a huge damper on trying to get in that mind-set,” said Tim Young, a 26-year-old songwriter who frequents the space. “Here you're living in exactly the frame of mind you try to get to when you need to create something.”

The frame of mind cultivated at Dean Street did not come easily. Mr. Clark spent years living without heat and water, slowly fixing up the rented space. What he lacked in knowledge, he made up for in resourcefulness.

After landing a job as an exhibition installer at the Guggenheim Museum 12 years ago, Mr. Clark figured out a way to source many of the materials that now make up Dean Street: With a little finesse and a few free cups of coffee, he persuaded museum workers to help divert the museum's trash to rental trucks he hired.

Now, many of the walls and shelves at Dean Street are made from the museum's discarded wood pedestals. Mr. Clark's most prized possession from the Guggenheim is the mesh wall separating the bathroom from the kitchen â€" it was part of a Frank Gehry sculpture that the museum parted with after an exhibition closed.

Dean Street toes a fine line between an artist's and a hoarder's paradise. One room is made entirely from the contents of a Dumpster Mr. Clark found down the street a few years ago. But according to its residents and frequent guests, the messiness of the space is what makes it so remarkable.

“We're in a place with the inside of an artist's brain across each wall,” said Foster Mickley, 27, a writer and photographer.

As Mr. Clark and his friends transformed the industrial space over the years, a transformation happened outside its walls as well. Crown Heights went from a crime-ridden, industrial neighborhood to a rapidly gentrifying area. Several similar warehouses on the same block as Mr. Clark's have been converted into condominiums and offices, and now Mr. Clark predicts he will be evicted in the next few years.

But no one seems worried about leaving. To those who live in and pass through the complex, Dean Street has become more a state of mind than an actual space.

“No one can stay in one place forever, but this will be something I'll never lose,” Mr. Young said. “I'll be able to take a piece of Dean Street with me and keep that inside.”

Mr. Clark is less sentimental about his seemingly inevitable departure. He believes that with all the skills he learned from rehabilitating the warehouse, he will simply create a new Dean Street somewhere else.

“I'm a very project-oriented guy,” he said. “And I'll be able to do the work faster next time.”

Kellam Clark has spent 13 years transforming the building into a haven for creative people.Eric Michael Johnson for The New York Times Kellam Clark has spent 13 years transforming the building into a haven for creative people.


Op-Doc: ‘Ode to Bike Sharing\'

In this animation, a New Yorker looks forward to the city's bike share program and reminisces about riding his bike when the city was very different. The back story of the video can be read here.



A Sidewalk Mystery, Solved

The untopped metal pole at Atlantic Avenue and Court Street in Brooklyn is a nonentity to some pedestrians but an annoyance to others.Andrea Mohin/The New York Times The untopped metal pole at Atlantic Avenue and Court Street in Brooklyn is a nonentity to some pedestrians but an annoyance to others.

Soon after the new year, Jonathan Lipsmeyer noticed something strange and new at the corner of Atlantic Avenue and Court Street in Brooklyn, where two of the borough's busier commercial strips meet.

Sloppily cemented but firmly bolted into the slanted lip of the curb on the southwest corner, a few yards from the entrance to Trader Joe's, was a somewhat tilted pole, about 5 feet tall and 5 inches across.

No sign, no light, just a silver, metal marker, built on an uneven patch of sidewalk and tilting into the flow of foot traffic like a miniature leaning tower of Cobble Hill.

As weeks passed, Mr. Lipsmeyer's puzzlement blossomed into irritation. He wrote to the office of Marty Markowitz, the borough president, but the correspondence was unenlightening.

“You look around to the other corners to see, is there some symmetrical plan here?” Mr. Lipsmeyer, a 39-year-old wine buyer who lives nearby, said recently. “But, no.”

Indeed, though the streetscape is cluttered with tall green bus stop markers, fat flare-based poles topped with traffic lights, battered bike racks and other protrusions, there is nothing quite like Mr. Lipsmeyer's headless pole, or half-pole, or whatever it is.

On Monday, shoppers and other walkers waited beside the pole for the light to change. Some shifted around it to get closer to the curb.

One pedestrian, Janice Behrens, had not noticed the pole until a reporter asked her about it. She studied it for a moment. “The top is sort of cut raw, it's totally not finished,” she said. “It's maybe going to be a street sign - a crooked street sign.”

David Balluff, who sells T-shirts on the sidewalk nearby, saw the pole's being set up. “It seemed fairly routine,” he said. “It was a construction crew; they dug up the area in a square, put in footings and poured concrete, and put in the pipe last. And then, nothing for months.”

On Tuesday, a city Transportation Department official revealed the pole's purpose: It will hold one of the chirping boxes known as accessible pedestrian signals that tell the visually impaired when it's safe to cross.

The official said that the department hoped to install wiring and other hardware and activate the signal in the coming weeks. She said the pole's slant would be inspected, too.

Until then, Mr. Lipsmeyer will have to tolerate the temporarily purposeless pole on his walk to work.

“People seem to have accepted it as part of the urban jungle labyrinth,” he conceded on Tuesday. “It's now part of the family.”

A version of this article appeared in print on 05/24/2013, on page A18 of the NewYork edition with the headline: A Sidewalk Mystery, Solved .

Saturday Night Benefit Planned for Coney Island Mermaid Parade

The Coney Island Mermaid Parade in 2010.Deidre Schoo for The New York Times The Coney Island Mermaid Parade in 2010.

What do Amanda Palmer, Abel Ferrara, Alt-Variety Magazine and Insectavora, the fire-eating tattooed lady, have in common? All of them will join forces on Saturday night at a fundraising benefit to support this year's endangered Mermaid Parade in Coney Island.

Since 1983, the parade has transformed the Coney Island boardwalk into a honky-tonk beauty pageant of bikini-clad sea-females (of various genders). This year, it is scheduled for June 22 but because of rising costs and because the headquarters organizers, Coney Island USA - the folks who run the local circus sideshow - were badly damaged by Hurricane Sandy, the event is in jeopardy of being canceled.

At the beginning of May, the sideshow started a Kickstarter campaign with the hope of raising $100,000 for the parade. By the end of last week, they had received more than 80 percent of that sum.  To help them reach their goal, Ms. Palmer, a multi-media artist formerly of the punk-cabaret band the Dresden Dolls, announced that she would host the Saturday night benefit from 7 to 11 p.m., on May 25, at the Bowery Ballroom on Delancey Street.

“This parade means so much to the NYC performer community, and I'd be devastated to see it defeated and washed away,” Ms. Palmer wrote in a press release. “This night will be a beautiful collision of helping and celebration and I can't wait to be among the people.” She added that she planned to show up in a mermaid outfit and “hopefully learn some mermaid-appropriate songs on the ukulele.”

Tickets are available at coneyisland.com. For more on the Kickstarter campaign, go to savemermaids.org.



A Well-Stamped Passport

Dear Diary:

My husband has been traveling overseas on business at least once a month for the past few years. His passport became so heavily stamped that he was forced to apply for a passport with extra visa pages.

As he was passing through passport control at J.F.K. this week, the guard looked him over and asked, “Are you married?” My husband nodded.

The guard slowly flipped through the bulky document. “How's that going?” he deadpanned.

Read all recent entries and our updated submissions guidelines. Reach us via e-mail diary@nytimes.com or follow @NYTMetro on Twitter using the hashtag #MetDiary.



Tribute to Country Singer Evokes His Nickname: No-Show

George Jones, the legendary country musician, died in April.Mark Humphrey/Associated Press George Jones, the legendary country musician, died in April.

Even in death, George Jones was a no-show.

A tribute concert to Mr. Jones, the country singer who died last month, and was nicknamed No-Show for the performances he missed because of drinking and drugs, was canceled on Thursday, hours before it was to begin.

The promoters said city inspectors had shut down the bar where it was to take place, the Rodeo Bar, on Third Avenue at 27th Street.

“It's George working his powers from the grave,” said Boo Reiners, who had helped line up the musicians on the bill. “It was hard to get him to play New York City no matter how many tickets were sold. And it was funny to have this happen, because on Wednesday I was joking, ‘We should not do the show and have it be like No-Show Jones, ha, ha, ha.' ”

Mr. Reiners and Elena Skye, who together founded the Demolition String Band, have also arranged tributes to Kris Kristofferson and Glen Campbell - who are still alive - and groups as different as the Monkees and Creedence Clearwater Revival.

They had compiled binders with more than 30 songs, ready to hand to the performers as they arrived.

Mr. Reiners said they had commitments from Teddy Thompson, the guitar-playing son of the British folk song writers Richard and Linda Thompson; the singer Laura Cantrell; Charlene McPherson, the lead singer of a band called Spanking Charlene; and Aaron Lee Tasjan, a songwriter and guitarist.

But then came the bad-news call from Jack Grace, a singer and song writer who books performers for the Rodeo Bar; minutes later, Mr. Reiners sent a text message to the performers, saying the show had been called off.

Mr. Reiners said in the text message that Mr. Grace told him of a surprise inspection by the health department.

The inspectors had gone through the kitchen, Mr. Reiners wrote. “Then one of the inspectors crawled around on the floor in the trailer bar” - a cutaway trailer with a bartender working inside the metal shell - “and decided there is a structural problem,” the text message read.

The inspectors ordered the Rodeo Bar shut down, he said.

Mr. Grace said later that the owner, Mitch Pollak, had informed him in a text message that there was “heavy water damage” around the trailer and that the bar would be closed until next week.

But the health department said it had closed the Rodeo Bar because of a mouse infestation.

“I hope we don't have to lose the trailer,” Mr. Grace said. “That's been an icon of the place.”

Mr. Reiners said the George Jones tribute would be rescheduled.

A version of this article appeared in print on 05/25/2013, on page A16 of the NewYork edition with the headline: Tribute to Country Singer Evokes His Nickname: No-Show .

A ‘Sphere\' That Has Taken a Year to Roll Nowhere

Despite the beginning of renovation work at Battery Park, the David W. Dunlap/The New York Times Despite the beginning of renovation work at Battery Park, the “Sphere” remains.

The last word on the fate of Fritz Koenig's “Sphere” for the World Trade Center, installed in 2002 at Battery Park as the city's interim 9/11 memorial, came a year ago from Mayor Michael R. Bloomberg. “I think it's beautiful where it is,” he said.

One World Trade Center has been topped out in the time it has taken officials to decide what to do with the David W. Dunlap/The New York Times One World Trade Center has been topped out in the time it has taken officials to decide what to do with the “Sphere,” in the foreground.

And that's where it has remained. The “Sphere,” which was to have been moved in the late spring of 2012, is still in Battery Park. If officials at City Hall, the parks department, the Battery Conservancy, the Port Authority or the 9/11 Memorial have a plan to relocate the 25-foot sculpture - badly damaged when the twin towers crashed down around it on Sept. 11, 2001 - they have not disclosed it.

The National September 11 Memorial and Museum at the World Trade Center Foundation, of which Mr. Bloomberg is chairman, does not want the sculpture. “We fully, 100 percent support the ‘Sphere' being kept outside in a way the public can experience whenever they want to,” Joseph C. Daniels, the foundation president, said last year. “But it's not going to be incorporated in the eight-acre memorial plaza.”

He said the plaza, designed by Michael Arad, was not intended for such artifacts of the attack. Also, since the plaza doubles as a rooftop for the memorial museum and PATH station, a considerable amount of structural retrofitting might be required to accommodate the 22.5-ton artwork. It can't simply be plopped down.

The Battery Conservancy, headed by Warrie Price, does not want the “Sphere” in Battery Park, which it runs under contract with the parks department. Though the sculpture may be the biggest draw in the park after Castle Clinton, it was installed as an interim measure and has no place in the long-term renovation plan. The conservancy may also be concerned that Battery Park has so many memorials already that it will begin to feel like a necropolis.

Despite Ms. Price's opposition, and despite the fact that she is the administrator of Battery Park, she must ultimately defer to the parks department, which Mayor Bloomberg controls through the parks commissioner. So the “Sphere” stays.

The Port Authority of New York and New Jersey, which owns the sculpture, considered returning the “Sphere” to Hangar 17 at Kennedy International Airport, where other large-scale artifacts of 9/11 have been stored. But Patrick J. Foye, the executive director, put a halt to that plan more than a year ago, in deference to the wishes of victims' family members.

He has since expressed general support for bringing the sculpture back to the trade center. But Mr. Foye has not elaborated on where, exactly, the “Sphere” might go, though the authority found a place for “America's Response Monument (De Oppresso Liber),” an equestrian bronze honoring the Army Special Forces in Afghanistan.

Commencement of the renovation of Battery Park was supposed to be the nonnegotiable deadline for a relocation plan, since the “Sphere” stands in the middle of the construction area. But work crews have devised a way around it, suggesting strongly that Mr. Bloomberg's last words a year ago were the last word indeed.

Badly damaged, the Archiv Fritz Koenig Badly damaged, the “Sphere” survived the attack on the World Trade Center of Sept. 11, 2001, and has been adopted by many as a symbol of resilience and hope.


Big Ticket | Diplomatic Crash Pad for $11.59 Million

The Portuguese government owned a unit at the Dakota for decades.Robert Caplin for The New York Times The Portuguese government owned a unit at the Dakota for decades.

In further fallout from Portugal's fiscal meltdown, a grand and gracious apartment at the revered Dakota that had been used for four decades by that nation's dignitaries as its Upper West Side diplomatic crash pad and entertainment hub sold - down to the penny - for $11,593,237.50 and was the most expensive sale of week, according to city records.

The eight-room residence at 1 West 72nd Street, No. 74, was listed for sale at $14.5 million last year and was reduced to $12.95 million in September. The monthly maintenance fee of $9,511 no doubt proved unsustainable to a government in the midst of fashioning a $107 billion bailout courtesy of the European Union and the International Monetary Fund.

The 3,600-square-foot apartment has three bedrooms, three baths and a powder room, along with three wood-burning fireplaces and the Dakota's typical complement of 12-foot ceilings, 10-foot-tall ash-and-mahogany doors, and elaborate mahogany woodwork and plaster moldings throughout. The 27-foot corner living room has Central Park views and a planting balcony, while the 24-foot dining room faces south; the bedrooms are all sequestered on a north wing. Pocket doors lead from the entrance gallery to a paneled library with a fireplace.

John Burger and Guida De Carvalhosa of Brown Harris Stevens represented the seller via its consulate general at 590 Fifth Avenue. The buyers are David Folkerts-Landau, the chief economist of the Deutsche Bank Group, and his wife, Maie Folkerts; their broker was Jason Haber of Rubicon Property.

Mr. Haber said the buyers, who live in London, intended to “make a museum-quality restoration.”

Big Ticket includes closed sales from the previous week, ending Wednesday.



In an Old Steam Plant, Providing a Home for the Many Cats of Pratt

Conrad Milster, the chief engineer at the Pratt Institute in Brooklyn, has become the caretaker of the many stray cats that like to frequent the school's steam plant.Hiroko Masuike/The New York Times Conrad Milster, the chief engineer at the Pratt Institute in Brooklyn, has become the caretaker of the many stray cats that like to frequent the school's steam plant.

After checking a multitude of old dials and meters down in the sprawling old steam plant, Conrad Milster, the plant's chief engineer, returned to his Dickensian office at the Pratt Institute in Brooklyn, and spied a hungry gray cat outside his window.

“This is Dulcie,” said Mr. Milster, 77, letting her in. “She comes in to eat and then goes somewhere else. A lot of these rascals have good deals set up here.”

These rascals are the Pratt cats, a population of ownerless cats that for decades have been padding around amid the historic buildings and lawn sculptures on campus, befriending students and faculty members.

The cats have become legendary at this school of art and design in Clinton Hill, as has the curious, century-old steam plant housed in the basement of East Hall that many of them call their home, or at least their student union.

“For some of them, this is sort of the backup lunch counter,” said Mr. Milster, a lanky Queens native with red mutton chops and grimy jeans and calloused hands.

Since 1958, he has operated the plant, which provides heat and hot water to the campus. He is a revered figure at Pratt for his tending of both the plant and the cats, and for his rigging of steam whistles to the system and blowing them off loudly on New Year's Eve for neighborhood residents.

The cats have become mascots to some students, including one called the Landlord, a snaggletoothed little guy who likes to keep watch over a Willoughby Street dorm. Then there are Lastat, Nicky, Teddy, Mickey and a cranky cutie known as Art School, who recently got soaked by an artist's bottle of linseed oil and had to be taken to a Park Slope veterinarian who treats the Pratt cats.

Given the cats' stature on campus, pangs of panic rippled through the school recently when school administrators told Mr. Milster that many cats would have to be removed because they were aggravating allergies suffered by staff members.

Many student and faculty members quickly circulated and signed petitions urging the administration to relent. Mr. Milster took three cats into the house that Pratt provides him on campus, where he already has about 18 cats rescued from campus over the years. Still, he was prepared to take in any other cats that might face removal, he said.

A Pratt spokeswoman said on Friday that, in response to the petitions, it was decided that the cats could remain, and that the allergy problem would be be addressed by the installation of air conditioners in the plant.

As Mr. Milster spoke with a reporter on Wednesday, several cats patrolled the balcony above the old plant's equipment. One arose from a snooze on a steam pipe and wandered in to nibble leftovers from Mr. Milster's sandwich.

“This is Prancey,” he said, “She usually sleeps upstairs in an art department office and comes down for meals. Yeah, they really know how to work the crowd here.”

But they also give back, he said, by helping to make Pratt feel like a family, he said, providing comfort to stressed-out students, especially after a fire in February damaged the Main Building and destroyed student art work inside.

“One of the few comforting things we had, after that, was the cats,” he said. “The students are very attached to these beasties. They have a real psychological value.”

Some estimates have put the number of cats in the dozens or even more than 100, but Mr. Milster said only a dozen frequent the steam plant.

“I'd have to count noses to be sure,” he said.

Some access the plant through utility tunnels under the campus. Others scoot in through his office window or with students through the building's main entrance. They seem to love the warmth, the loud thrum of the machines, and the litter boxes and food â€" dry and wet â€" that Mr. Milster leaves out for them, at his own expense. The cats are depicted in photographs throughout the plant, including an homage to Big Momma, a huge black-and-white female who lived in the machine shop and died recently.

The original plant was built in 1887 and its steam-driven generators, installed in 1900, are thought to be the oldest in the Northeast. It serves as something of a museum piece and drawing subject for Pratt students, with its flywheels, glass-encased dials and pressure gauges, huge pipes and pistons.

“It's really a 19th-century power plant,” Mr. Milster said, walking through the plant. “If this stops in the winter, Pratt stops.”

The cats seem to instinctively avoid electrical current and moving parts, he said, adding, “You could say they know more than human beings about respecting the machinery.”

Decades ago, he and his wife began taking in cats dumped on campus, or left behind by departing students. They would neuter them for possible adoption. They would take sick or nuisance cats to their home, and at one point had more than 50 living with them, he said. They enjoyed entering the healthier ones in shows, and Mr. Milster hung dozens of prize ribbons in the plant's front window. He removed them recently when the cat controversy began, to lower the cats' profile. But now, he said, he may hang them back up.

“These are not just street strays,” he said above the hum of his steam engines. “These are prize winners.”



Coney Island, 2:57 P.M.

Bryan Thomas for The New York Times

True, the weather has not been too beachy the last few days. Nor is it supposed to be on Saturday.

But there is a bright side: May has been yet another banner month for weather fans. Just ask Stephen Fybish, City Room's persistent weather historian, who left a message Friday afternoon informing us that we had just achieved what weather historians (some of them, anyway) refer to as a “super-highlight switcheroo.” To wit:

“We have now gone from the fifth-driest April, with 1.31 inches, to what is already the ninth-wettest May. The total precip through 4 p.m. at the park for this month is 7.23 inches.”

That is quite a swing, Mr. Fybish. When was the last time that happened?

“Not since 1980 has there been such a turnaround from a dry month to a wet month. Because in 1980, they had the third-driest February, and that had a whopping 1.04 inches, and then they went to what was then the wettest of all Marches, 10.41 inches.”

With that, we wish you a great, or solemnly observant, weekend, as you see fit. And note that Sunday is supposed to be sunny. Maybe.



Week in Pictures for May 24

Here is a slide show of photographs from the past week in New York City and the region. Subjects include the New York Aquarium, a nightclub in a Chelsea water tower, and an aerial view of beachfront homes in Mantoloking, N.J.

This weekend on “The New York Times Close Up,” an inside look at the most compelling articles in Sunday's Times, Clyde Haberman will speak with The Times's Eleanor Randolph, Michael Barbaro, Michael M. Grynbaum and Matt Flegenheimer. Also, Senator Kirsten E. Gillibrand; Janette Sadik-Khan, New York City's transportation commissioner; and Colin Quinn, a writer, comedian and performer. Tune in at 10 p.m. Saturday or 10 a.m. Sunday on NY1 News to watch.

A sampling from the City Room blog is featured daily in the main print news section of The Times. You may also read current New York headlines, like New York Metro | The New York Times on Facebook and follow us on Twitter.



Some of His Best Customers Are Canine

Pete Van LeeuwenMichael Nagle for The New York Times Pete Van Leeuwen

Pete Van Leeuwen started Van Leeuwen Artisan Ice Cream in 2008 with his brother Ben, their partner, Laura O'Neill, and two classic yellow trucks. Now in their sixth year of business, they have six trucks and three stores in Brooklyn and Manhattan, as well as a Balinese restaurant (Selamat Pagi) in the front of their production facility. The first summer Mr. Van Leeuwen drove around, scooping ice cream. These days, with the food truck boom in New York City and their growing business - just this week they introduced vegan ice cream - Mr. Van Leeuwen, 36, spends his time organizing and troubleshooting, with occasional breaks for a pistachio cone, his favorite flavor.

Q.

Are people surprised there really is a Van Leeuwen?

A.

They're oftentimes like, “That's not your real last name, is it?” Of course it is! I think it's because of the Haagen-Dazs thing. Everybody is now aware that Haagen-Dazs is this made up - brilliantly made up - name. People think we're doing the Dutch thing too.

In fact, early on I was not convinced that Van Leeuwen would be a good name to use, because it was hard to spell. How were people going to look us up, Google it, find us?

Q.

What's the most popular ice cream flavor?

A.

Vanilla, just as you'd expect. It's a known fact and we see it to be true as well. Even in New York City, where people are way more adventurous and used to more interesting flavors, different flavors and trying new things.

Q.

About those adventurous flavors. Do children like gourmet ice cream?

A.

Oh yeah. They do. Dogs, too. We have a lot of dog customers who come up. We give dogs free tastes of ice cream, little tasting spoons full. I've seen it happen: they see the truck before the owner does, and are pulling the owner up and jump up on the counter waiting for their taste.

Q.

How was it different having a truck five years ago, versus now?

A.

Five years ago, we pulled up to the sidewalk on Greene Street between Prince and Spring and a line formed immediately, and basically we had a line that lasted all summer.

And now there's not quite as much of this frenzied excitement from the customers and people walking by on the street. Chances are they've walked by several trucks that day. And others are now making beautiful trucks and eye-catching trucks.

Also with all of these other food trucks, they follow what works. If they see a truck on Bedford Avenue being successful, they say: let's go to Bedford Ave - and all of the sudden you have this caravan of trucks up and down on every single block.

And then five years ago, where it used to be tolerated, that one truck was in a 10-block span, maybe the precinct gets one phone call a day from an angry resident or an upset business owner. Now the precinct is slammed with phone calls from every single block. So then they have to say, “We have a problem here, what do we have to do about it? We have to enforce the laws which say no vending from metered parking.” So they go down and ticket every truck over and over again, until you submit and you leave.

Q.

How do you figure out where to park the trucks? Is there competition or fighting?

A.

I'm always scouting spots. The parking signs. The businesses around. See if there's a guy on the corner selling pretzels and water. They see us as competition, even though it's not.

We had a big to-do at our Fifth Avenue spot about four years ago, when we started the coffee thing. This guy who was selling dollar cups of coffee and dollar bagels thought we were ruining his business. The fact is, it's two completely different demographics who will buy a four dollar latte or a dollar cup of coffee. And he was just fighting, fighting us to the point that it's not worth it. He actually ended up slashing our tires. That's the worst it's ever gotten.

Q.

How much of your truck business is events - weddings or ice cream at Google?

A.

One of the best things about the truck business is that you are this rolling, catered dessert. We go as far as 100 miles for the right price. People for a wedding way upstate, all the way up on the island, or whatever, will hire a truck. That's a big part of the business. It's certainly one of the things that make the trucks worth it because those are relatively stress-free. There's no permits needed, there's no health department issues and policing. As long as we can get the truck there, get the generator on, it's going to be great.

Q.

Do you remember the first cone you sold?

A.

I think I do. It was before we figured out how to manage the temperatures of the freezer really well, because protein-y flavors will get harder than others. Mint chip will melt the fastest because there's a little bit of alcoholic extract in it, and the ginger softens up, but the pistachio and chocolate might be rock hard. Before getting used to this, I remember settling in, register is ready, opening the window and somebody asks for a chocolate, and it's like trying to chip rock, literally. It's like chipping at rock, and you're like, “Oh god, I'm sorry, the ice cream is too hard.” So, that happened a couple of times before we figured that part out.

Q.

What's the hardest problem you've had to troubleshoot or solve?

A.

I would say it's just this ongoing thing of juggling and maintaining our employees and scheduling them, because of the permitting issue - it takes three months before they are legally allowed to start working - and because it's seasonal. There's really only 3 or 4 months of any definitive schedule, which is June 1 to September, when we're going to be out every single day. It's just massive organization and scheduling. It also frustrates our staff.

Q.

Are trucks or stores a better business?

A.

At this point, I would say stores are a better business. However, we would have never been able to open a store if we didn't have the trucks first. We just didn't have the capital.

I can be stressed and complain about it, but at the end of the day it still feels good. I like this idea of having a roving team selling our ice cream. It's pretty awesome to be able to roll up to SoHo. Feels good, play music. People are psyched to come up and get ice cream. The trade-off is I don't have to pay $50,000 to have a space there. But, instead, I have less peace of mind and it's more stressful. It's a monetary and stress trade-off. When it is working and balanced, it feels good.

This interview has been condensed and edited.

A version of this article appeared in print on 05/26/2013, on page MB2 of the NewYork edition with the headline: Some of His Best Customers Are Canine.

Book Review Podcast: Lamenting Defectors, Soviet and Otherwise

This week in The New York Times Book Review, Maggie Shipstead reviews Elliott Holt's new novel, “You Are One of Them,” which was inspired by the story of Samantha Smith, the American schoolgirl who wrote to the Soviet premier Yuri Andropov in 1982 and asked if he intended to start a nuclear war. Ms. Shipstead writes:

The narrator, Sarah Zuckerman, thinks of defection not just in the sense of leaving one's country for its enemy but also as a metaphor for abandonment. Her sister, who dies at age 4, is a defector, and her father, who divorces her mother and returns to his native England, is another. So too is her mother, who vanishes into debilitating anxiety and an obsession with nuclear disarmament. Defection provides the novel with a thematic framework, but Sarah's fixation on it also works as a neat piece of subtle, cumulative characterization, revealing her tendency toward martyrdom: by dying, divorcing or struggling with unhappiness, her loved ones betray her.

On this week's podcast, Ms. Holt discusses her novel; Rick Atkinson discusses his “The Guns at Last Light”; Julie Bosman has notes from the field; and Gregory Cowles has best-seller news. Pamela Paul is the host.



Cannes Film Festival: Bruce Dern and Will Forte on ‘Nebraska\'

Will Forte, left, and Bruce Dern at the Cannes Film Festival.Anne-Christine Poujoulat/Agence France-Presse - Getty Images Will Forte, left, and Bruce Dern at the Cannes Film Festival.

CANNES, France - In Alexander Payne's “About Schmidt” (2002), Jack Nicholson returned to form and earned an Oscar nomination for playing an older father on a journey with his daughter. At this year's Cannes Film Festival, Mr. Payne's new film “Nebraska” stars Mr. Nicholson's old pal Bruce Dern as an older father who goes on a journey with his son, played by Will Forte. Mr. Dern is Woody, an alcoholic who is nearing senility and becomes convinced that a sweepstakes pamphlet is an actual guarantee of a million-dollar prize. Mr. Forte, in his first dramatic role, is David, who takes pity on his dad and drives him to Nebraska to claim it.

So far, the film has been playing to positive reviews, particularly for Mr. Dern, who may be a strong contender for the festival's best actor prize, along with Oscar Isaac for “Inside Llewyn Davis” and Michael Douglas for “Behind the Candelabra.” Understandably, Mr. Dern, a ribald storyteller on an average day, was in an irrepressibly good mood when he sat down in the Carlton Hotel here for an interview with his co-star Mr. Forte. These are edited excerpts from that verbose conversation.

Bruce Dern: You're from New York. You cover the runners at the New York Marathon?

New York Times: No. Why, are you athletic?

Dern: I'm a runner. I run every day. According to Runner's World, I've run 106,000 miles. That's four times around the world. I'm a junkie. If I don't do it, I just go crazy. The longest streak I ever had was 17 years, I never missed a day. Early in my life I was an 800-meter runner and I didn't make the team in '56. I was in the trials and did well. You had to be first, second or third, and unfortunately I was 11th in the world, but third in the New York-Philadelphia area.

NYT: I'm sorry, but I have to interrupt. You are known as a storyteller and a talker. Did you go crazy filming “Nebraska”? Your character is a quiet man who rarely speaks.

Dern: Also, we were bottled up in a car for 28 days!

Will Forte: Don't worry, he got it out after they said cut. He's the best.

Dern: Well, one of the great things about it all is that Will and I didn't know each other beforehand, but Alexander had to be good at math in school because he puts arithmetic together and makes it come out as something that works. He took what Will does for a living, which is the “Saturday Night Live” thing - at least up until now - and he takes what I do, which is push too hard, sometimes rightly so, sometimes not. I mean, when you're going to blow up the Super Bowl [in "Black Sunday"], you've got to be a little crazy.

NYT: Especially when you're doing it with a blimp.

Dern: And shooting John Wayne [in "The Cowboys"]. Because when you start out as the fifth cowboy from the right, you'd better be the most unique cowboy from the right. And that was drilled into Jack [Nicholson] and I.

NYT: Will, it looks like you lucked out. You're making this transition from television to film and your first serious drama is with this guy. Was it like film class?

Forte: It truly was like film class. I loved it, because he was a teacher in every aspect. Just listening to these stories was just the most amazing book on tape - and I say that with the most respect possible. He taught me so much about acting.

Dern: I looked upon him not as a student, but as a pest!

NYT: Will plays a son who can't help but tease his father.

Dern: I grew up in a household with a mother and a father who were social alcoholics. I never saw either one of them drunk. I never saw either one nasty. I never saw my dad laugh and I never saw my dad cry. And I remembered that as I started getting into Woody, because I have a lot of alcoholic people in my family. I never drank and I never smoked. And we never talk about our family - [his daughter, the actress Laura Dern] never does that either. But when I got with [Will], he was kind of like a patsy early on, but he was annoying.

NYT: What?

Forte: Annoyingly sweet?

Dern: I mean in real life, he had an annoying life. He had a girlfriend; he didn't have a girlfriend. Should he? Shouldn't he? What's going on? I said, [forget] that, don't lay all that on me. And I was messed up, walking around like a cripple because I have a torn quadriceps. But Jack's the best partner I've ever had, in “Marvin Gardens,” and Will is the best partner I've had since then.

Forte: What?! [Grinning.]

Dern: There's no I in “team,” and movies are teamwork. And we had the best teamwork on this movie we've ever had, and [Alexander Payne] had 61 guys on the crew who have done every one of his movies. When you walk on there, it's a family. You're not afraid to take risks. He says, take risks and I'll catch you. He said the most wonderful thing to me. The very first day, I'd said: “Alexander, I don't want to act in this movie. Jack told you the same thing before ‘About Schmidt.' We are tired of performing. We just want to be people. They want Dernsy and they want ‘Here's Johnny!' ” He said, “Let us do our job and trust it. We will find and see what you're doing. You don't have to show it to us.” And for Will to be able to pick that up? The first few days he was a little leery, a little intimidated. But he was great. He has something that I've rarely seen in this industry. He has a sense of likability about him that people respond to. You belie ved him.

Forte: Wait, you're talking about me?

Dern: Yeah.

Forte: Aw, Bruce.

NYT: Will, how did those first few days feel, filming with a guy like Bruce?

Forte: It was intimidating. To do something with people I admire and respect so much is intimidating no matter what, but to have it be in a different arena than you're used to, it just added to that intimidation. But what he says is true: there was this family atmosphere among the crew, and Alexander has this calming personality that made me feel like I deserved to be there. It meant so much for me that they made me feel like I deserved to be there.

NYT: Obviously, Bruce speaks his mind. Will, was that ever tough in those first few days?

Forte: He doesn't mess around. But anything he said was very fair.

Dern: He can take direction better than any other actor I've ever worked with. And everything was in the script for both of us. We weren't going to do our shtick.

NYT: What did you see in that script?

Dern: For me, it was an opportunity to be someone who never had to smile, who never had to laugh, who never had to get real angry - who was just riding a vibe. He's not thinking about death because he's living in a cemetery. I mean, Nebraska is a cemetery. I mean, it's over. It had to be black and white because Nebraska is black and white. Iowa is black and white. South Dakota is black and white. You don't go through Ohio and Nebraska and see color. The barns are drab. The people are drab. But one thing about them I sensed with Woody is that he is a monument to the pioneer movement of America. When I decided to do it is when [another character] says, “Does he have Alzheimer's or dementia?” And I thought that was the key point. Alexander says that's the key point. But the key point is when Will says, “No, ma'am, he just believes what people say.”

NYT: So the film is about a generational shift away from a certain kind of American promise and a world in which people believe what they're told to something else. Will, I wonder how you identify with that as part of a younger generation. The rap on Gen-X and post-Gen-X people is often that they grow up ironic. Or not? What about you?

Forte: I'm kind of an old-timey person. This is going to sound like I'm complimenting myself, but my parents instilled this kind of belief that you should trust people, and sometimes I can verge on the point of being gullible and naïve. You lose some of that along the way, but I've always connected to that older generation maybe because of that. I was very close to my grandma, and she had that attitude and my mom does too. And they both meant so much and instilled those values in me.

Dern: I think what he just said comes out in the movie. Alexander's a people watcher: you watch the things he picks up. What's the great thing about Alexander? I had it most days with Mr. Hitchcock. Every day you go to work there's a chance you just might do something nobody's ever done. It's the best role I've had and the most exciting experience day to day.



Mary J. Blige Hit With $3.4 Million Tax Lien

Forget about the Tea Party. The Internal Revenue Service seems to be out for blood when it comes to R&B singers residing in New Jersey. First Lauryn Hill was sentenced to jail for failing to pay income taxes over three years. Now the I.R.S. has hit Mary J. Blige and her husband, who live in Cresskill, with a $3.4 million tax lien, according to The Associated Press. Court documents assert that Ms. Blige owes more than $574,000 for the 2009 tax year, more than $2.2 million for 2010 and $647,000 for 2011. A representative for Ms. Blige told The A.P. that she was working to resolve the dispute as quickly as possible.



The Sweet Spot: Watching You Watching

In this week's video, A. O. Scott and David Carr discuss privacy, surveillance and how we invite Big Brother into our lives.



Several Series Make Debuts, but Viewers Aren\'t Wowed

These days, the television season never truly ends. As other shows were wrapping up earlier this week, the networks unveiled several new shows, but so far, they have been tepidly received by viewers.

On Thursday, “Save Me,” an NBC comedy starring Anne Heche, finally had its premiere after being pushed back all season. It garnered only three million total viewers, according to Nielsen. That number was on par with last summer's premiere of “Saving Hope,” which NBC pulled from its schedule after 11 episodes because of low ratings.

The series premiere of ABC's “Motive,” a police procedural imported from Canada, drew 6.5 million viewers on Monday, but its audience skewed older, and the second episode on Thursday was beaten in its time period in the 18-to-49 category by the series premiere of “Does Someone Have to Go?” That show, a reality series in which employees decide if their co-workers should lose their jobs, had three million total viewers.

Last and certainly least is “The Goodwin Games” on Fox, another comedy that was largely ignored by viewers on Monday, with only 1.6 million tuning in.

A version of this article appeared in print on 05/25/2013, on page C2 of the NewYork edition with the headline: New TV Shows Find Few Viewers.

New York Live Arts Announces New Season

The 2013-14 season of New York Live Arts will include more than 100 performances and more than 40 artists, with a high volume of international artists in dance, theater and visual arts. The new season from the movement-based arts company was announced Friday by Bill T. Jones, the group's executive artistic director, and Carla Peterson, its artistic director.

The season will begin Sept. 23 with “The Inkomati (Dis)cord,” a dance theater work by Boyzie Cekwana, a dancer from South Africa, and Panaibra Canda, a dancer from Mozambique. From Nov. 12-17, the choreographer Jérôme Bel and Zurich's Theater Hora will perform “Disabled Theater,” a collaborative dance-performance work enacted by learning-disabled adults, in a co-presentation with Performa for Performa 13.

Other international productions include “Ha!” (Sept. 27-28), an exploration of madness by the Bouchra Ouizguen of Morocco; and the French dancer-choreographer Jeanne Mordoj's multidisciplinary work “La Poème” (Oct. 11-12). Works by the Serbian artists Sasa Asentic and Ana Vujanovic and the French artists Alain Buffard and Maud Le Pladec will also be among those making their American premieres.

From April 7-13,  the Trisha Brown Dance Company will be in residence at New York Live Arts for a series of performances, discussions and classes. The performances will include two works from Ms. Brown's Unstable Molecular Structure cycle: “Opal Loop/Cloud Installation #72503” and “Son of Gone Fishin',” with music by Robert Ashley.

“Our season, taken as a whole, draws a revealing picture of what is among the most exciting, delightful and exhilarating expressions of our time,” Ms. Peterson said in a statement. Tickets and more information are available at www.newyorklivearts.org and (212) 924-0077.

This post has been revised to reflect the following correction:

Correction: May 25, 2013

An earlier version of this post misspelled the surname of a French dancer-choreographer. She is Jeanne Mordoj, not Morodoj.

A version of this article appeared in print on 05/25/2013, on page C2 of the NewYork edition with the headline: New York Live Arts Announces New Season.

Popcast: Pat Metheny and John Zorn\'s Surprising Mind-Meld

Pat Metheny, left, and John Zorn collaborated on an album for Nonesuch Records.Fred R. Conrad/The New York Times Pat Metheny, left, and John Zorn collaborated on an album for Nonesuch Records.

This week: Nate Chinen, a jazz critic for The Times, talks to host Ben Ratliff about Pat Metheny's new album, “Tap: John Zorn's Book of Angels, Vol. 20.”

Pat Metheny - whose jazz-fusion records of the 1970s and '80s helped him become one of the most popular improvisers of the last 40 years - plays the music of John Zorn, defiant anticommercial avant-gardist, et cetera. Of course, there's much more to both artists than those reductive labels. Does this album help crack open those perceptions and neutralize them?

The album can be surprising: Mr. Metheny, playing everything but drums, commits to rigorous, varied, sometimes wild versions of Mr. Zorn's “Book of Angels” pieces, all of which use the modes and scales associated with traditional Jewish music. Do the old cliques and cabals around jazz and improvised music still make any sense? Despite the fact that they had barely met until recently, are Mr. Metheny and Mr. Zorn, as methodical, creative minds, more alike than had been thought?

Listen above, download the MP3 or subscribe in iTunes.

RELATED

Nate Chinen's interview with John Zorn and Pat Metheny.

SPOTIFY PLAYLIST
Tracks by artists discussed this week. (Spotify users can also find it here.)



Collection of Detroit Institute of Arts Cannot Be Sold, Its Director Says

Correction Appended

Rodin's Paul Sancya/Associated Press Rodin's “Thinker” outside the Detroit Institute of the Arts in Michigan.

The director of the Detroit Institute of Arts said on Friday that he believed the museum's collection was “held in the public trust” and could not be sold by the city to help pay down its multibillion-dollar debt, and that he expected the city's emergency manager and his office to reach the same conclusion.

“They're interested in making a healthy and viable Detroit,” the director, Graham W. J. Beal, said on Friday in a telephone interview. “We believe that that kind of action - diminishing our collection, the cultural value - would not be in the long-term interest.”

Mr. Beal's remarks came in response to a report in The Detroit Free Press that Kevyn Orr, the emergency manager appointed to oversee operations in Detroit, was exploring whether the museum's collection of art could be sold to help cover the city's debt of nearly $15 billion.

“We have no interest in selling art,” Bill Nowling, a spokesman for Mr. Orr, told The Free Press. “I want to make that pretty clear. But it is an asset of the city to a certain degree.”

Mr. Nowling added: “We have to look at everything on the table. As much as it would pain us to do it - and it does; I'm a great lover of art and so is Kevyn - we've got a responsibility to rationalize all the assets of the city and find out what the worth is and what the city holds.”

Mr. Beal said the museum had known Mr. Orr was pursuing this course “for about a week.”

“Personally, of course, someone in my position is bound to find that dismaying,” Mr. Beal said. “Quite why they're doing this is not something that I really know.”

He added, however, that he believed Mr. Orr and his staff would conclude that the art could not be sold “when they've looked into the situation in the light of their ultimate goals.”

The Detroit Institute of Arts, which was founded in 1885, has a collection of more than 60,000 works, including pieces by Henri Matisse, Vincent van Gogh, Diego Rivera, Alexander Calder and other master artists. When the museum reopened in 2007 after a renovation, Holland Cotter wrote in The New York Times that it was “a vulnerable institution in a spirited but depressed town” whose history was “one of modest triumphs mingled with failures.”

The Free Press estimated the market value of 38 of the museum's greatest works at $2.5 billion, with individual paintings like van Gogh's “Self Portrait” valued at $100 million to $150 million.

“As far as we're concerned,” Mr. Beal said, “as objects held in the public trust, they actually don't have a value. I know people find that odd.”

The ability of the emergency manager to sell off the museum's collection was not immediately clear, though Mr. Nowling told The Free Press that Detroit's creditors “can really force the issue.”

But the fact that such a possibility was even being discussed was widely condemned by patrons of the museum and by other cultural institutions.

Thomas P. Campbell, the director and chief executive of the Metropolitan Museum of Art, said in a statement on Friday that the “disheartening reports out of Detroit today will undoubtedly shock and outrage the city's residents,” as well as “the millions of people who admire the Detroit Institute of Arts and the entire cultural community who rightly believe that art is a permanent, rather than a liquid, community asset.”

Mr. Campbell added that when New York City faced its own fiscal crisis in 1975 and the nationwide financial crisis of 2008, “the cultural treasures closely identified with our own city were never on the table - never considered an asset that might be cashed in during a crunch to bridge a negative balance sheet.”

“I am sure that many museum directors around the country join me in condemning the Detroit emergency manager's consideration of the D.I.A.'s collection as an asset,” Mr. Campbell said. “This direction should be quickly and firmly rejected. Art for the public is not interim, fungible or liquid.”

Correction: May 24, 2013

An earlier version of this post misspelled the surname of an art critic for The Times. He is Holland Cotter, not Carter.

A version of this article appeared in print on 05/25/2013, on page C2 of the NewYork edition with the headline: Detroit Museum's Art Cannot Be Sold, Director Says.

The Week in Culture Pictures, May 25

Quincy Jones at the Mandarin Oriental Hotel in Manhattan.Damon Winter/The New York Times Quincy Jones at the Mandarin Oriental Hotel in Manhattan.

Photographs More photographs.

A slide show of photographs of cultural highlights from this week.



More Staff Members Leave Granta

The exodus from the London-based literary journal Granta continued this week with the departure of Philip Gwyn Jones, the publisher of the magazine's books imprint, who became the latest staff member to leave since John Freeman, the magazine's editor, announced his resignation in April. The art director, deputy editor and associate editor have also left the magazine, which recently announced the closing of its New York office.

Mr. Gwyn Jones, in a statement to The Bookseller, credited Sigrid Rausing, Granta's owner, with allowing the publishing imprint “freedom and security.” But the news quickly brought behind-the-scenes chatter about the true reasons behind Mr. Freeman's departure out into the open, with an article in The Guardian attributing it to Ms. Rausing's desire to cut financial losses.

Mr. Freeman told The Guardian that Ms. Rausing had wanted to reduce the staff, and that he “didn't want to be part of the change.” In an e-mail from Lisbon, where he is helping introduce Granta's Portuguese edition, he confirmed the clash but declined to elaborate, saying only, “Sigrid and I had a fundamental disagreement about how to approach the future.”

Ms. Rausing, a billionaire philanthropist who bought the magazine in 2005, told The Guardian that the staff departures happened “for different reasons, not all of them related.” But she acknowledged that she had made some cuts as part of a broader plan to bring the book and magazine sides of Granta closer together, with Mr. Freeman's eventual replacement overseeing the editorial aspects of both and she herself assuming what The Bookseller characterized as “full operational and executive control” of the streamlined company.

“Publishing is going through rocky times. We are lucky because I can afford the subsidy, which means that we can do things that may be harder for other publishers,” she told The Guardian. “The magazine I don't think will ever be profitable, but I am certainly hoping that the book side will make money.”

Granta, which released its influential, once-a-decade “Best of Young British Novelists” list last month, is closing its New York office at a moment of expansion elsewhere. It currently has nine editions in languages other than English, with editions coming soon in Finland, Israel, Japan and Romania.

A version of this article appeared in print on 05/25/2013, on page C2 of the NewYork edition with the headline: More Staff Members Leave Granta.