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PAPER. I’d be totally happy if people bought it and just had it in their houses and looked at it years later.” Simultaneously she’s already worried about it aging. “The book already feels so dated to me and I’m so nostalgic. But…” she fumbles around for the right quote. “Today is a gift, that’s why they call it the present.”-ish book cover. She’s aware that no Fresh New Gen Z Voice would ever call themselves that. A lot of other people are doing Levy’s publicity for her.
Levy met her first editor, Giancarlo DiTrapano, when she moved to New York. She sought an internship at Tyrant Books, DiTrapano’s independent, countercultural publishing house, but after he read her writing, he wanted to publish it ascomes from her thesis at Bennington. When Penguin scooped it up, they made minor alterations, but the book remains largely the same. “It felt like it was weighing me down,” she explains.
Levy explains that she loved the brief online fascination with Dimes Square because of her own interest in historical literary scenes. She wanted to have her own version of the Romantics, the Beatniks, the Algonquin Round Table, the Brat Pack. “I love self-contained mythology. I love seeing how different people in history knew each other. I think New York was really exciting because my friends and I were all making stuff and putting it out there.
Given the company she kept and the comments she made, I wonder if she regrets any of it. “I do,” she says. She regrets “Wet Brain”: “A podcast is just an inherently bad form, it’s too many ideas too fast. Listening to people all the time without being able to talk back, it really does something to your brain.” The podcast produced an online community, spawning its own stories, memes and discourses. “The tenets of it were joking about things that feel bad now,” she says.
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