Are you interested in the thoughts and lives of the bookish people of today? Don’t look any further and read the best interviews of the week.
Claire Keane, who is responsible for the art for Frozen, created a good looking children’s book.
At the time that I wrote Once Upon A Cloud, my daughter was a newborn and I was intent on getting her to fall asleep. Through my reading about sleep, I discovered the importance the role dreams and the unconscious mind play in our everyday life — many artistic and scientific discoveries have been made through dreams.
David Levithan talks to NPR about his musical novel Hold Me Closer.
Never underestimate the power of knowing who you are from an early age and accepting it. (That said, he DOES have 18 ex-boyfriends, so there’s still a whole lot he hasn’t quite learned.)
The Millions interviews Alison Bechdel and they talk about her books and winning the MacArthur Genius Grant.
I’m very reluctant. I’ve just gotten to the point in my life where I don’t want to do anything except exactly what I want to do. And even myself describing a project, it then becomes something I have to do. But I’ll just say one thing, which is that I want to go back to drawing more spontaneously, and with less preparatory work for every drawing.
Jonathan Lethem talks to Salon about his new novel, fans and adoring his characters.
What’s great about short stories is the opportunity to play at reinvention; all those new departures, all those new landings to try to stick. It makes me happy to think of the book as a window into the last decade’s worth of tiny revolutions and self-overthrowings, and as a laboratory for what I might still become as a writer.
Marlon James answers questions about Bob Marley, taking risks in writing and violence.
I think there’s a lot of value to the offstage event. Violence that’s talked about, mentioned, remembered. But I also think sometimes it creates this value that the more offstage violence is, the better it is. And I have problems with that. Violence is not necessarily an artistic brushstroke. To me, it’s not an artistic choice. To say that violence is better off stage is like saying a Martin McDonagh play is irrelevant.
Rachel Cooke talks about judging the Folio Prize and what it’s really like to have to read a lot of books.
I wouldn’t ever want to complain about all the reading I had to do as a judge of theFolio prize. How wonderful to be paid to read – assuming, of course, that reading’s your thing (I hardly want to do anything else). But there is no denying that some weeks I felt wary of the boxes of books that glowered at me from a corner of my sitting room.