Quotes from Amy Bloom


Sorted by Popularity


People tend to forget that in our country, we'd pretty much all be immigrants, except for the Native Americans.


The truth is I never think of any subject as taboo.


Nonfiction is both easier and harder to write than fiction. It's easier because the facts are already laid out before you, and there is already a narrative arc. What makes it harder is that you are not free to use your imagination and creativity to fill in any missing gaps within the story.


I'm overall a big fan of President Obama.


Whenever you see shrinks on television, they're so clearly written by patients. They're either idealized or they're demonized or they love their patients. All they ever think about is their patients.


There are two trilogies I admire: Robertson Davies's 'The Deptford Trilogy' and Philip Pullman's 'His Dark Materials.'


When I was a little girl, I thought I was Sydney Carton in Dickens' 'A Tale of Two Cities.' I don't think anyone else did.


We have our insides and our outsides, and I find the struggles between the two, as well as the occasions of harmony between the two, fascinating.


Plays are wonderfully different than short stories, first because it's a story that's on a stage, but there's a different sort of tension that appears on stage - you get to see your characters in a different way - like with lights.


I'm sure I've been influenced by every fine writer I've ever read, from Dickens and Austen to Auden and Jane Hirshfield. And also, the short stories of Updike, Cheever, Munro, Alice Adams, and Doris Lessing. And the plays of Oscar Wilde. And paintings by Alice Neel and Matisse.


As children, we think our mother has always been a mother, but it is just one of the roles you may have the opportunity to play. They don't define you as a human being.


'Lucky Us' ends with a description of a photograph of the novel's fictional family. I could never get enough of my own family photo albums.


Actual happiness is sometimes confused with the pursuit of it; and the most mindless and crass how-tos can get jumbled in with the modestly useful, the appealingly personal, and the genuinely interesting.


My grandmother tended to divide life into 'nice' and 'not so nice.' Life in America, her apartment, her grandchildren: 'nice'; life before 1915: 'not so nice.' That's all I heard.


For me, the short story is the depth of a novel, the breadth of a poem, and, as you come to the last few paragraphs, the experience of surprise.


My writing process, such as it is, consists of a lot of noodling, procrastinating, dawdling, and avoiding.


To hold happiness is to hold the understanding that the world passes away from us, that the petals fall and the beloved dies. No amount of mockery, no amount of fashionable scowling will keep any of us from knowing and savoring the pleasure of the sun on our faces or save us from the adult understanding that it cannot last forever.


I am interested in struggle - between our hearts and our head, between principle and desire - and one of those struggles is with mortality; and no one at all is immune to it, which makes it even more interesting to me. Some people fall in love, some don't. Some sky dive, some don't. Everyone who lives, ages.


My sister and I used to act as maids and waitresses at my great aunt and uncle's cocktail parties, which were very much sort of retired, minor stars of the Yiddish theater and the Yiddish opera.


My mother's favorite photograph was one of herself at twenty-four years old, unbearably beautiful, utterly glamorous, in a black-straw cartwheel hat, dark-red lipstick, and a smart black suit, her notepad on a cocktail table. I know nothing about that woman.