Ben Sonnenberg founded Grand Street in 1981 and edited the magazine through the 1980s, defining its important role in New York's literary landscape. Sonnenberg capitalized upon his affluent New York upbringing and friendships with writers such as Ted Hughes to forge a "little magazine" in the tradition of The Parisian Review and Granta. Devoted to contemporary literature and politics, Grand Street was published quarterly and featured an enticing and eclectic selection of poetry, fiction and journalism.
Sonnenberg was a devoted and nurturing editor, striving to recompense writers financially and artistically; many writers were pleased by the generous fees and detailed editorial advice that Grand Street offered them. Sonnenberg also created a literary circle, hosting dinners with contributors in his Riverside Drive apartment and worked strenuously to promote new talent, including Anne Carson and Susan Minot. Carson attested to the close mentorship Sonnenberg provided, writing to him that he was "always in the back of my thoughts like a piece of chocolate saved in the corner of the cupboard all through Lent." Other writers featured throughout the 1980s include Grover Amen, Arthur Coleman Danto, Ted Hughes, W.S. Merwin, Alice Munro, Joyce Carol Oates, Laura Riding, Edward Said and Virgil Thomson.
Upon Sonnenberg's retirement in 1989, Jean Stein took over Grand Street's lease as editor. Stein expanded the magazine's portfolio to include more international authors and work by contemporary artists. Featured artists were given a high-quality spread in Grand Street and these portfolios were usually accompanied by a short critical commentary. The increasing presence of art assisted another transition in the 1990s, when Grand Street became theme-driven from issue 48 onwards. These themes were often rather broad, allowing for interesting approaches from the featured artists and writers. Themes included Games (Issue 51), Fetishes (Issue 53), Dirt (Issue 57), Fire (Issue 67) and Berlin (Issue 69).
Ironically, Grand Street's initial theme--Oblivion--was strangely prophetic for the path of print journalism after the millennium. Encouraged by economic exigencies, Stein made the bold move of establishing Grand Street as a "state of the art" online magazine (with one print issue each year) in 2000. As part of this transition, Grand Street redesigned its website and put much of its artistic and literary archives online. Despite this stylish website and continued crop of interesting artists and writers, Grand Street struggled in its new home and attempted to revert back to a print journal in 2003. Having lost momentum and faced with an increasingly difficult market for journals, Grand Street ceased publication after the release of its 73rd Issue (Delusions) in the Fall of 2004.
From the guide to the Grand Street Publications, Inc. records, 1981-2004., (Columbia University Rare Book and Manuscript Library, )
