The voices in these poems are not often heard outside the South, and they are voices that, like the land, are being lost with the development and modernization that characterize the New South. Yet they express emotions and concerns we all share, and wherever I’ve taken this project, people are responding to it.
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.
When I was younger, I was drawn to activities for which I had a natural aptitude, but discovered that I couldn’t feel really passionate about something that didn’t require more of me than I thought I was able to give. I’ve learned a lot about how to be brave and vulnerable, fearless and reverent by fighting and writing my way forward.
When I finally began to write about what I knew (it’s obvious— but it’s not obvious until you know what it is you know!) it felt like opening a door and coming home. This wasn’t really a matter of the subjects—people, relationships, families: I’d tried all that before. It was a matter of the voice; it was that I discovered what I sounded like, what I needed to sound like, to tell my truth about what I saw.
I believe that intentions matter. They matter in life and they matter in writing fiction. If you sincerely want to explore the humanity of a character who happens to be of a different race, that sincerity will shine through. Readers are so awesomely smart.
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.
I was telling myself stories in my head before I learned how to read, so there was really no original inspiration other than boredom and instinct.