A Quote by Judith Thurman
As for the multiple editions, in the case of a truly great writer - Shakespeare, Emily Dickinson, Proust, someone with a canon - there is often a "variorum" edition of the work that presents its variants. I think publishing most other writing that way would be impossible, economically, for publishers, and very ill-advised for authors.
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We all need each other in publishing to make publishing work for authors in a variety of formats now and in the future. Anyone who thinks publishers don't bring anything to the table has a very narrow view and lack of knowledge about the industry as a whole.
Some readers may be disturbed that I wrote 'The Secret Life of Emily Dickinson' in Emily's own voice. I wasn't trying to steal her thunder or her music. I simply wanted to imagine my way into the head and heart of Emily Dickinson.
I think most people played both variants and regular games. It was a period when variants were very popular and there were a lot more variants being played at that time. Every week practically, it seemed someone would publish a new variant in a zine.
When I think of Emily Dickinson, there's not one particular poem of hers that jumps out, but I do have a very vivid image of an ill woman with giant eyes who wants to write about the sun exploding.
All the unimaginative assholes in the world who imagine that Shakespeare couldn't have written Shakespeare because it was impossible from what we know about Shakespeare of Stratford that such a man would have had the experience to imagine such things - well, this denies the very thing that separates Shakespeare from almost every other writer in the world: an imagination that is untouchable and nonstop.
I have been in love with Emily Dickinson's poetry since I was 13, and, like an anonymous post on findagrave.com says, 'Dear Emily - I hope I have understood.' Emily's poems are sometimes difficult, often abstract, on occasion flippant, but her mind is inside them.
I was not really aware of the dystopian genre before I read 'The Handmaid's Tale.' Many poets as well, like John Donne and Emily Dickinson, would be the influences; I specialized in Emily Dickinson at university. Both of those poets have really interesting ways of looking at life and death.
Teachers and librarians can be the most effective advocates for diversifying children's and young adult books. When I speak to publishers, they're going to expect me to say that I would love to see more books by Native American authors and African-American authors and Arab-American authors. But when a teacher or librarian says this to publishers, it can have a profound effect.
I think that very often younger writers don't appreciate how much hard work is involved in writing. The part of writing that's magic is the thinnest rind on the world of creation. Most of a writer's life is just work. It happens to be a kind of work that the writer finds fulfilling in the same way that a watchmaker can happily spend countless hours fiddling over the tiny cogs and bits of wire. ... I think the people who end up being writers are people who don't get bored doing that kind of tight focus in small areas.
Publishing is no longer simply a matter of picking worthy manuscripts and putting them on offer. It is now as important to market books properly, to work with the bookstore chains to getterms, co-op advertising, and the like. The difficulty is that publishers who can market are most often not the publishers with worthy lists.
What I treasure most at any moment is intimacy, surprise, a sense of mystery, wit, depth and love. A handful of cherished friends offer me this, and the occasional singer or film-maker or artist. But my most reliable sources of electricity are Henry David Thoreau, Shakespeare, Melville and Emily Dickinson.
Schoolchildren all over America are told to write to authors-often to authors whom they have never before heard of, whose work they are to young to understand in the least, and often in letters which are almost illiterate. If children are to be taught to respect the work of American poets I think some better way might be found to do so- some way which would not make such an inconsiderate demand on the author's time.
I think John Coltrane is one of the great American heroes, like Abraham Lincoln and Emily Dickinson.
Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.
Despite wanting to work in publishing, I was a publisher's worst nightmare: I rarely bought new books. So my goal was to publish the kind of books I would buy, and read. My reading habits have changed since starting the press. The only other "goal", per say, is to continue to experiment. I don't want the press to ever fall into a formula, or to be pigeonholed - "They do great reissues of modernist poets!" - I want to keep pushing, exploring the kind of title we can get away with. And working with authors who challenge the way I think about writing, editing and reading.
I would like to sit down with Emily Dickinson, Virginia Woolf, PJ Harvey, and Bjork. That would be a good dinner in my mind. Strong women. I think I would enjoy that.
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