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Jessica Chiccehitto Hindman

Jessica Chiccehitto Hindman AN APPAL ACHIAN HERITAGE INTERVIEW JESSICA CHICCEHITTO HINDMAN mericans are less able than ever to tell the difference between real and Afake,” memoirist Jessica Chiccehitto Hindman says. “And we are all suffering for it.” This blunt observation about our current national moment strikes at the heart of her debut memoir, Sounds Like Titanic, which tells the story of her experience touring the United States as a violinist in an ensemble of musicians led by a man she calls The Composer. But there is a catch. 36 Unbeknownst to their audiences, the microphone is dead, and they are miming to a recording. As the strange, bewitching tale unfolds, Hindman grapples with what it means to be a woman, an Appalachian, an American, a writer, and a performer. After a recent reading at Berea College, Appalachian Heritage’s Emily Masters caught up with Hindman to chat about translating music to the page, the blurred lines between reality and falsity, her views on the education system in Appalachia, and the prevailing notions of beauty and female bodies. ■ ■ ■ EMILY MASTERS: This is a fascinating memoir. You toured the country as a violinist in an ensemble that played along onstage with a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Appalachian Review University of North Carolina Press

Jessica Chiccehitto Hindman

Masters, Emily -- interviewer
Appalachian Review , Volume 47 (2) – Nov 21, 2019
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Publisher
University of North Carolina Press
Copyright
Copyright © Berea College
ISSN
1940-5081

Abstract

AN APPAL ACHIAN HERITAGE INTERVIEW JESSICA CHICCEHITTO HINDMAN mericans are less able than ever to tell the difference between real and Afake,” memoirist Jessica Chiccehitto Hindman says. “And we are all suffering for it.” This blunt observation about our current national moment strikes at the heart of her debut memoir, Sounds Like Titanic, which tells the story of her experience touring the United States as a violinist in an ensemble of musicians led by a man she calls The Composer. But there is a catch. 36 Unbeknownst to their audiences, the microphone is dead, and they are miming to a recording. As the strange, bewitching tale unfolds, Hindman grapples with what it means to be a woman, an Appalachian, an American, a writer, and a performer. After a recent reading at Berea College, Appalachian Heritage’s Emily Masters caught up with Hindman to chat about translating music to the page, the blurred lines between reality and falsity, her views on the education system in Appalachia, and the prevailing notions of beauty and female bodies. ■ ■ ■ EMILY MASTERS: This is a fascinating memoir. You toured the country as a violinist in an ensemble that played along onstage with a

Journal

Appalachian Review – University of North Carolina Press

Published: Nov 21, 2019

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