Chris Raschka

I want each and every entire brushstroke to be seen. I want the marks made by the tip of the brush to carry as much meaning as the marks made by the dragging tail end, the part that splits open as the paint pulls away, thins and dries.

When I present the Charlie Parker book, I do a call and response that works quite well. With the Thelonious Monk book, I play the music and work with kids in a group to create a color wheel and show how the wheel can be mapped on a 12-tone chromatic scale.

The historical novelist has to consider what has actually happened, while the SF writer is dealing in possibilities, but they are both in the business of imagining a world unlike our own and yet connected to it.

Well, Italy had been overrun by the War, there had practically been civil war, north and south of the Gothic Line, heavy bombing, the northern industrial cities had been bombed heavily and we had political disorder before 1948.

What I look for when I see a piece of art for the first time is some kind of emotional, intellectual experience, that's a combination of both of those things and is informed by my knowledge and something new that I see the artist doing.