Fans pick 100 books like Mr. Nobody's Eyes

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 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 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 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 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. 

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.

My first true religion was being a boy alone in the woods and feeling a deep connection to nature in all its aspects. I felt a connection with all life and knew myself to be an animal—and gloried in it. Since then, I've learned how vigorously humans fight our animal nature, estranging us from ourselves and the planet. Each of these books invites us to get over ourselves and connect with all life on Earth. 

Science is still assumed to be a ‘male’ subject in which women are a minority. I should know—I was one of those women when I worked as an astrophysicist. But there have always been women in science and their stories are fascinating, whether told in nonfiction or in fiction. Fiction is ideally placed to convey the emotions behind the scientific processes and the way in which human interactions and relationships influence what happens in the lab.

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 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!