Career
Hempel is a former student of Gordon Lish, in whose workshop she wrote several of her first stories. Lish was so impressed with her work that he helped her publish her first collection, Reasons to Live (1985), which includes "In the Cemetery Where Al Jolson Is Buried", the first story she ever wrote. Hempel credits Lish's influence for the lack of pressure she has felt to become a novelist rather than a short story writer. Originally published in TriQuarterly in 1983, "In the Cemetery Where Al Jolson Is Buried" is one of the most extensively anthologized stories of the last quarter century.
Hempel has produced three other collections: At the Gates of the Animal Kingdom (1990), which includes the story “The Harvest”; Tumble Home (1997); and The Dog of the Marriage (2005). Tumble Home was Hempel’s first novella, which she structured as a letter to an unspecified recipient and called "the most personal thing I've ever written." Both “In the Cemetery Where Al Jolson is Buried” and Tumble Home highlight animals’ ability to express and draw out emotions. In an interview in BOMB Magazine, Hempel explained, "I think there's a purity of feeling there that humans can connect with if we're lucky, or if we're looking for it."
The Collected Stories of Amy Hempel (2006) gathers all the stories from the four earlier books. She co-edited (with Jim Shepard) Unleashed–Poems by Writers’ Dogs (1995), which includes contributions by Edward Albee, John Irving, Denis Johnson, Gordon Lish, Arthur Miller, and many others. She writes articles, essays, and short stories for such publications as Vanity Fair, Interview, BOMB, GQ, ELLE, Harper's Magazine, The Quarterly, and Playboy. Hempel has participated in several conferences including The Juniper Summer Writing Institute at the University of Massachusetts Amherst's MFA Program for Poets & Writers.
Generally termed a minimalist writer, along with Raymond Carver, Mary Robison, and Frederick Barthelme, Hempel is one of a handful of writers who has built a reputation based solely on short fiction. Hempel purposefully leaves her stories' narrators unnamed, as "there are more possibilities when you don't pin down a person with a name and an age and a background because then people can bring something to them or take something from them."
Read more about this topic: Amy Hempel
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