The way I tried to balance the fictional and real was to write a totally fictional story, starting with the death of the great cellist, involving characters who did not exist and events that never happened which, nonetheless, allowed me to describe the emotional realities of growing up in a world of classical music, with a great cellist for a father and a great instrument for a companion.
“I first saw Apocalypse Now when I was not yet a teenager, and it was way too soon to see it. My voice would shake when I talked about it later, even in college. So I wanted to take my revenge on that movie and all of the Hollywood canon about the war, for as I say in the novel, this is the first case in history where the losers get to write the history.”
by Julia Mahony
“Just come visit, and I’ll introduce you to her all day long” — Rob Gipe on the origins of Dawn, the young protagonist of Trampoline.
Bloom Staff Writer Joe Schuster had the chance to chat with Katherine Heiny, author of the just-released story collection—25 years in the making— Single, Carefree, Mellow.
Sometimes I become frustrated with writing, when I know a photograph would communicate in an instant what I want to express, while prose will take five thousand words, and those five thousand words won’t come close. But then words, one after another after another, can expose layers that no photograph can reveal.
by Nicole Wolverton
The title of Luna’s novel is an homage to The Revolution of Everyday Life, a book on consumerism’s impact on modern life by Raoul Vaneigem. This impact . . . plays out in the lives of the homesteaders . . . particularly as gentrification threatens them.
by Evelyn Somers
Kaufman’s voice is irresistibly comic—which does not mean that the stories are all uproarious. Some are funny, some are sad; many are both. Kaufman has a talent for the minimally adorned word or phrase that evokes a fraught and complicated emotion or situation.