100 books like Basketry and Beyond

It seems I was destined to write about textiles. Long after I started documenting the tapestries of the Dovecot Studios, Edinburgh—over 45 years ago—I discovered that my great-grandfather was a cotton mule-spinner, working one of those machines that spurred on the industrial revolution. So it’s in my blood. I’ve interviewed dozens of people who’ve made similar discoveries, and have become a firm believer in the long-lasting inherited significance of textiles. We’ve made them and they in turn have made us who we are. Now more than ever, my hope is to entangle people into the wonderful web that connects every era and every culture.

It seems I was destined to write about textiles. Long after I started documenting the tapestries of the Dovecot Studios, Edinburgh—over 45 years ago—I discovered that my great-grandfather was a cotton mule-spinner, working one of those machines that spurred on the industrial revolution. So it’s in my blood. I’ve interviewed dozens of people who’ve made similar discoveries, and have become a firm believer in the long-lasting inherited significance of textiles. We’ve made them and they in turn have made us who we are. Now more than ever, my hope is to entangle people into the wonderful web that connects every era and every culture.

It seems I was destined to write about textiles. Long after I started documenting the tapestries of the Dovecot Studios, Edinburgh—over 45 years ago—I discovered that my great-grandfather was a cotton mule-spinner, working one of those machines that spurred on the industrial revolution. So it’s in my blood. I’ve interviewed dozens of people who’ve made similar discoveries, and have become a firm believer in the long-lasting inherited significance of textiles. We’ve made them and they in turn have made us who we are. Now more than ever, my hope is to entangle people into the wonderful web that connects every era and every culture.

It seems I was destined to write about textiles. Long after I started documenting the tapestries of the Dovecot Studios, Edinburgh—over 45 years ago—I discovered that my great-grandfather was a cotton mule-spinner, working one of those machines that spurred on the industrial revolution. So it’s in my blood. I’ve interviewed dozens of people who’ve made similar discoveries, and have become a firm believer in the long-lasting inherited significance of textiles. We’ve made them and they in turn have made us who we are. Now more than ever, my hope is to entangle people into the wonderful web that connects every era and every culture.

I was once a psychoanalyst, but I found that it was almost impossible to understand another human being. Animals were easier: they could not be hypocritical, they could not lie, they could not deceive. Whoever heard of an animal with an unconscious anger problem? If they were angry they showed it, if they loved they showed it. After I got fired from the Freud Archives (that’s a whole other story) I decided I wanted to read ten good books about animal emotions. This was in 1981. But it turns out there were no books on this topic I could read, except Darwin, 1872! So I decided to write my own. 

I remember reading Enid Blyton’s Mr. Galliano’s Circus as a child and was fascinated more by the idea of circus life than the actual performance aspect. I still adore watching high-quality circus feats performed by acrobats and love that frisson of excitement as everyone shuffles into their seats just before showtime. When I began writing children’s books, my aim was to give the child characters room to develop resilience and courage while encountering danger and adventure without the presence of adults. In order to do this, I had to somehow remove parental figures. Running away is the perfect literary device to achieve this which is how Glass Dreams came about.

I have always been a peacemaker, so anger can be a really uncomfortable emotion for me. I think that’s true of lots of people! As a mom and mental health counselor, it was important to me to write a book that honored the protective nature of anger. Feelings give us important information. Putting this book together felt like a big puzzle to solve, and I’m so happy with how it turned out. Bright and engaging illustrations, relatable characters, and tips for grown-ups in the back to help us all say hello to our anger and whatever might be hiding underneath! 

I used to be part of the establishment, working in Whitehall for the UK government. Then I became the ultimate outsider, with light sensitivity so extreme that many people dismissed it as “all in my head.” Years on, turns out I've had a physical illness all along – but one only recently recognised. Now I know what I’m dealing with (Mast Cell Activation Syndrome), I’m much better.  My journey’s made me fascinated by the way establishments of all kinds – corporate, political, scientific – react to new uncomfortable truths, and how often they’ll opt for gaslighting and "psychological" labels to keep those truths at bay.  

Growing up in the sub-tropics of Brisbane, there was a magic in the heat. It was one that spoke to me from a really young age, and I’d daydream about finding portals to secret worlds in the stutter of a sprinkler’s spray, or the ooze of a monster in mid-afternoon sweat. There was no way I couldn’t find a story in the oppressive swelter of year-round summers, and in my head, I’d cast roles for my family and my friends. Over the years, that bred into a love of writing and reading stories about strange families finding their own sorts of magic with each other and their environments, and the ways that little taste of the uncanny can reveal and conceal in equal measure. 

In addition to writing novels, I’m a humanities editor for Oxford University Press. So, I’m interested in the political and theological implications of non-human intelligence. I wonder how people would react to such a revelation. Some would be fascinated by this radical new perspective. Others would be horrified at what they perceive as a transgression against nature. I’m also drawn to this topic because I still vividly recall the entertainment of my youth, which regularly featured anthropomorphic animals. Sometimes they’re just cool or funny. But on occasion—like with The Secret of NIMH—they raise profound questions of identity and rebellion, even for an audience that is too young to understand.