A Quote by Kate DiCamillo

I don't know what Alison [McGhee] thinks, but I very strongly doubt that we will ever see the parents of Bink or Gollie. However, I do think it would be fun to make Tony Fucile draw portraits of the parental units and have those portraits sitting on Bink's mantel or in Gollie's kitchen. Glowering. A little.
I'm not exactly sure how old the girls are [in Bink & Gollie], but I can pretty much guarantee that their parents will never show up. That would mess up the fun. I do, however, very much like Kate's idea of having Tony [Fucile] draw their portraits.
I think Tony Fucile, who did the illustrations [for Bink & Gollie], is an absolute genius. I've never met him.
We certainly have a lot of ideas, and we both love what Tony [Fucile] did with the book [Bink & Gollie]. If we could all pull it off, I think all three of us would like to do another.
I would hesitate to say the characters [ in Bink & Gollie] are too related to either to us [me and Alison McGhee], but they certainly draw on our physical traits and personality traits and then exaggerate them to the nth degree.
What would make me happiest is if kids read these books [Bink & Gollie] and think: there is so much to love in the world; and words are so much fun.
We pulled them [ Bink & Gollie] out of our feeble little brains.
I'm in trouble if they can't, because everyone's taller than me, and if that's true, that means I can't have any friends! Alison [McGhee] and I look very much like, I was going to say Bink and Gollie, but I meant Mutt and Jeff. We look ridiculous when we walk down the street together, because she's so tall and I'm so short. But yes, tall people and short people can, and should be, friends. I, personally, like being short. I think it makes things easier.
It's a book [Bink & Gollie] about shortness and tallness, so I think it's appropriate to discuss the virtues of shortness.
So, yes, at least from my end. You could say there's a lot of Alison [McGhee] in Gollie too.
What I hope is that the book [Bink & Gollie] delights children. What I hope is that they laugh and laugh and laugh, just as we did when we wrote them.
We [me and Alison McGhee] probably wouldn't have said that when we were writing the stories, but it is so apparent to me in the finished product. For me, looking at Bink, it's like looking at myself on the page in a way that I've never experienced with any other book that I've written.
The people have to know what my portraits are like in order to behave in such a way that the result is one of my portraits.
I think we sent Tony Fucile pictures of ourselves, photos from like when we were seven years old. That's what he worked from. He captured exactly what we looked like. I'd love to do another one with Alison, not just for the joy of writing, but also for the joy of watching Tony bring it to life with his illustrations. I'm hoping at BEA, or ALA, I'll get to meet Tony and shake his hand and thank him.
I feel certain that the largest part of all photographs ever taken or being taken or ever to be taken, is and will continue to be, portraits. This is not only true, it is also necessary. We are not solitary mammals, like the elephant, the whale and the ape. What is most profoundly felt between us, even if hidden, will reappear in our portraits of one another.
I've always been into subcultures. In the '50s and '60s, what Pierre Molinier was doing was super subculture - he was taking self-portraits, it was very private, very intimate. I think that's actually how I started my drag - in my bedroom, taking MacBook self-portraits.
In college, all my friends were graffiti writers, but I never wrote graffiti. I wanted to participate and do something cool on the street, so I'd make these portraits of people. I'd isolate them on a white wall, make a silkscreen of it, and do these portraits in bathrooms and all around. That's how I started the Polaroids.
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