McCann’s background also helped, Aramin, 56, said, because many Palestinians often feel a sense of solidarity with the Irish. They trusted him as an artist, they said, recognizing that the book, even as a work of fiction, would amplify their message. Neither man hesitated when McCann approached them about his idea. Both have found salvation in the work, a way, Elhanan said, also in an interview, to “give meaning to my life and meaning to my loss.” They’ve been the subject of films, and have traveled the world talking about their loss and their conviction that “we can’t build a state on the ruins of our kids,” as Aramin said in an interview. “I think people wouldn’t have trusted it as much if it wasn’t real.”Įlhanan’s and Aramin’s stories are well documented their grief has entered public consciousness. “We’re in this territory of the real is the imagined and the imagined is real,” McCann said of this project. In a moment when the publishing industry is grappling with which stories are told and by whom, it is a striking choice. If you get it wrong … they can’t necessarily recover in the same way that a really, truly, public figure could. “With Rami and Bassam, it’s so much closer to the edge, closer to the bone. “Nureyev can look after himself, and the memory of Nureyev can look after itself,” the writer said. McCann’s National Book Award-winning novel, “ Let the Great World Spin,” for example, uses the high-wire artist Philippe Petit as a launching point, while another of his novels, “ Dancer,” imagines the life of the ballet dancer Rudolf Nureyev.īut for McCann, the moral stakes of “Apeirogon” felt higher.
“Apeirogon,” like other books by McCann, interweaves real people with imagined conversations, scenes and other details of their lives.
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