No doubt some work being produced today will not be recognized and well-regarded until 50 years from now.
by Sonya Chung
That not all good or great art is recognized is easy to forget. We readily entrust tastemakers of the day—A-list publishing houses and magazines, the Twitter kings and queens—to point us to ideas, works, and forms that are worthwhile.
“When I first talked to my editor about revisions, I asked if I could rewrite the entire book. My editor gave me the permission to do so as long as I kept the heart of the story the same. The beginning and the ending of the book are the same, but everything else is different and hopefully much better.”
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.