“There are always architects for exploitation and subjugation . . . There is no exploitation unless there are people who are quietly complicit. That is the nature of human subjugation. Complicity is a ghost haunting this story.”
“When I was a child,” Wineberg says, “I imagined life became steadier, more controllable, and smoother as people entered middle-age and beyond. But as I have grown older, experienced my life so far, looked at the world around me, and written these stories, my perspective has changed.”
“As a schoolteacher, I’m sometimes witness to teens in turmoil and to their resilience.”
“Soon, several hundred sated, well-lubricated,
Turkish towel donning friends or strangers
will begin to filter out from the labyrinth
of thin-walled, cramped, private cubicles.”
by Max LoSardo Fall 2021 is a great season for Bloomers. This month we feature a diverse array of writers making their debuts in memoir, novel, and novella, all coming from different backgrounds and training. This selection shows whether it’d be serving as an activist, managing a healthcare company, or anything in between, living life …
Memory is fluid and complex and difficult to judge. I love the idea of a tapestry of memories about the same event. Somewhere, in the middle of this woven quilt of memories, is the truth. Or many, many truths.
Being a psychotherapist attuned me to discerning both to what is said and what is unsaid, accustomed me to seeking to understand conscious and unconscious motivation—above all, to listening.
At Bloom, we believe it is never too late to take a risk and try something new. In that spirit, we are excited to announce that we are now accepting poetry and fiction submissions from blooming authors who first publish or publish in a new genre (for example, a novelist who publishes a poem, an academic …
In solidarity with antiracism protests around the country and internationally, Bloom strives to be antiracist in what we publish, whom we interview, and the books we choose to excerpt. Bloom understands that many who fit that profile come from marginalized communities of all varieties, and that paths to publication are too often challenged by systemic racism. Our goal is to amplify the underheard and to celebrate the undersung—the authors who are not reviewed in mainstream publishing. Our all-volunteer editorial team is fiercely dedicated to realizing a just society through the dissemination of diverse voices that speak to equality for all.
“There are nights when across the bay we can see
Lights pressing the form of a certain small town.” Continue reading
“I want my fiction to be entertaining. I also want it to be honest to experience, to foster what I believe in, not pander to anything base—to have an ethical and moral perspective—and to have beauty.” Continue reading
I allowed myself to write without compartmentalizing the Chinese from the English, the Cantonese from the Mandarin, and let the sounds from other places dance and mix into the poems. Continue reading
“Sometimes I channel my writing in the same way I channel my art. I try not to think hard about what I’m putting into the draft of an essay, but the hard work begins when I have to kill my darlings and shave the piece down to its essential parts. This is why I love to play with various forms and genres.” Continue reading
“It’s 1968: Diana is eleven, an orphan, and knows more than she should.” Continue reading
“By now Nermina understands the presence of the white UN vehicles throughout Sarajevo will do little to stave off the siege; only these men who drive the trucks—Bosnian Muslims and Croats—have a chance of delivering Nermina and the others to the relative safety of the airport tunnel.” Continue reading
I’m driven by oh-so-close failure. To get near to your goal—whatever that is—to see it up close: it can make you want it even more, can spur you to take more risks. Art needs risk. Continue reading
