Makkai's new book is the story collection Music for Wartime.
From her Q & A with Zhanna Slor at the Michigan Quarterly Review:
I noticed, with all of your books, that you write a lot about artists. Were you raised around a lot of them?Learn more about the author and her work at Rebecca Makkai's website, Facebook page and Twitter perch.
Yes, in a way. My parents were linguistic professors; but my dad was also a really talented amateur pianist, and my mother played the organ. My sister was a piano performance major at Oberlin and now she’s a piano teacher. Actually, I was really raised more around musicians. It was more that they had a lot of artistic friends. My dad was part of the ex-pat Hungarian community and there were a lot of artists there, painters and writers. I had an aunt who ran a ballet studio. As for the “write what you know” school of thought, I realized early on in my writing process that artists and intellectuals were who I was most comfortable writing about. I’m not the right person to write some gritty novel about life on the streets—I’m glad people are doing it, but I would be terrible.
The Hundred-Year House had all sorts of visual artists, but in this collection, there’s more focus on music and musicians. You also go into quite a bit of detail with the technical aspects of playing. Did you have to do some research for that?
Yes. I studied piano and voice in college, but I don’t know a lot about string instruments, so a friend of mine connected me with a professional violinist who read both “Cross” and “The Worst You Ever Feel.” She gave me a lot of feedback about little details. Like in “The Worst You Ever Feel,” the violinist is missing a finger, and originally I had it as his pinky, but she said that wouldn’t be missed as much as his ring finger, so...[read on]
My Book, The Movie: The Borrower.
The Page 69 Test: The Hundred-Year House.
My Book, The Movie: The Hundred-Year House.
--Marshal Zeringue