Discover how Lenny Cavallaro’s diverse passions shape his unique storytelling approach
Lenny Cavallaro shares insights on his multi-genre storytelling, the influence of classical music, historical accuracy, and the challenges of digital publishing in an exclusive interview with Reader’s House Magazine.
Lenny Cavallaro is a true “Renaissance man,” whose multifaceted talents and interests have left an indelible mark on the literary and musical worlds. With a profound appreciation for the classics, Cavallaro’s works are a testament to his deep understanding of Greek tragedy, Shakespearean drama, and classical music. His diverse pursuits, ranging from boxing and karate to chess and hypnosis, enrich his storytelling, offering readers a unique blend of intellectual depth and creative flair. Cavallaro’s literary repertoire includes acclaimed titles such as Trojan Dialogues: The Memoirs of Diomedes and The Greatest Champion Who Never Was, as well as his innovative Two Oedipal Plays. His recent works, including The Passion of Elena Bianchi series and Sherlock Holmes and the Mysteries of the Chess World, showcase his ability to weave complex narratives that transcend traditional genre boundaries.
We at Reader’s House Magazine are thrilled to present an exclusive interview with Lenny Cavallaro, whose remarkable journey as an author and composer continues to captivate audiences worldwide. Our conversation delves into the intersections of his varied interests and how they influence his creative process. We explore the challenges and triumphs of his multi-genre storytelling, his approach to blending historical accuracy with fiction, and his experiences with digital publishing in today’s ever-evolving literary landscape. Join us as we uncover the inspirations and insights of a truly extraordinary artist.
Lenny Cavallaro’s exceptional storytelling and artistic versatility make him a captivating and influential figure in contemporary literature and music.
Your background spans a wide range of disciplines, from music and chess to karate and hypnosis. How do these diverse interests influence your writing, and do you find that they intersect in your creative process?
The process begins with my dreams, which spawn both literary ideas and musical themes. Indeed, some details of my series (The Passion of Elena Bianchi), notably the power of Beethoven, arose directly from dreams, and that giant’s “Kreutzer Sonata” dominates the first novel. My interest in the Trojan War gave rise to Trojan Dialogues; in Sophocles, to one of my Two Oedipal Plays; in Shakespeare, to the other drama! My first book (non-fiction), Persona Non Grata (updated in Superstition and Sabotage) was with chess grandmaster Viktor Kortchnoi, and I later wrote Sherlock Holmes and the Mysteries of the Chess World. Other works involve boxing and karate.
I have not used hypnosis as literary material, but I usually slip into trance when writing. Moreover, I have worked with hyperempiria (a sister-discipline) to enhance creativity.
In your series, The Passion of Elena Bianchi, you present the readers with romance, hard-core “kinky” sex, classical music, the Holocaust, the Mafia, psychic phenomena, and an esoteric notion of reincarnation called “soul fractions.” What prompted you to put so many topics on the plate?
Given my diverse interests, I suppose the combination was almost inevitable! Of course, I soon learned that it is much more difficult to market a multi-genre work, in part because readers tend to focus on individual topics. The scenes of loving, consensual sadomasochism “turn off” some readers, yet there are not enough of them for those interested in erotica. “Soul fractions” have never been developed in a work of fiction, although I find the idea fascinating.
On a deeper level: I do not write for fame or fortune. I am apparently prompted by some deep, psychological imperative, and various elements thereof simply move through my subconscious mind (i.e., dreams) and materialize on the page.
So much of your fiction is historical in nature. How did you approach blending historical accuracy with creative storytelling?
I first engage in careful research. Once I know what needs to be conveyed, I find it easy to adapt it to the relevant characters and let them develop the material as it fits the plot.
As a concert pianist and composer, you adhere to 18th and 19th-century styles. How does your passion for classical music shape your narrative voice and themes in your literary works? Do you find parallels between composing music and writing prose?
Great question! As a composer, I consider melody the most important element. Similarly, as a writer, I find plot is of paramount importance, with dialogue often propelling the action. However, readers will not find long, extended, descriptive passages. I’ll leave them to Wagner!
You have had some difficulties with censorship?
True! For example, Barnes & Noble lists two paperback volumes of my series: If Music Be the Food of Love and Paradise Regained and Lost Again. However, the aggregator that distributes my digital books reported that B&N would not sell them, because I had run afoul of some or other algorithm. I even wrote an expurgated version of the first title, called The Lovers and the Curse. It’s on Amazon, Payhip, and Smashwords, but not on AppleBooks, Barnes & Noble, and many other sites.
The situation is asinine. For example, I wrote Simone, a conjectural sequel to Bataille’s masterpiece, The Story of the Eye. I placed it on Amazon and Lulu, but I can’t even try the other retailers, despite the fact that many sell works by Bataille and the Marquis de Sade. There’s incest in Dafoe’s Moll Flanders; horrible maiming in Shakespeare’s Titus Andronicus, statutory rape in Nabokov’s Lolita…but the algorithms came gunning for me!
How have your views on digital publishing changed over the years?
I am profoundly grateful for the marvellous opportunities authors have today. The “Big Five” are pretty much a “closed door” for us poor mortals, and small publishers are a mixed bag. Thus, we need the self-publishing option.
The downsides (in addition to censorship) are the inconsistency of Amazon itself and the need to market constantly if one wants any sales. Moreover, people don’t realize that they never actually “own” the eBooks they download. They cannot donate them to libraries, pass them along to friends, or sell them second-hand. Certain “blockchain” publishers presumably address these issues, but they work with cryptocurrencies, about which I have moral reservations due to the energy consumption. Nevertheless, my overall impression of digital is favourable, and I think it will improve.
