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PW Talks to Lise McClendon
PW: Why did you choose Kansas City as the setting for your Dorie Lennox series?
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PW Talks with Philippe Petit
PW: When and why did you begin writing To Reach the Clouds?
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PW Talks with Garry Wills
PW: Your new book begins by responding, in a very personal way, to those who asked why you remain Catholic in spite of your criticism of the church. Did you feel a certain amount of discomfort in approaching the book this way?
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PW Talks with Sharon Salzberg
PW: You are a respected author and teacher of Buddhist meditation. Why did you decide to write about faith?
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PW Talks with John Miller
PW: How did you and your two coauthors get together on The Cell? How did it originate?
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PW Talks with Faye Kellerman
PW: Your latest Peter Decker/Rina Lazarus novel, Stone Kiss, which features some shady New York Hasidim, has stronger Jewish elements than most of your other books in the series. Is there a reason?
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PW Talks with Alan Furst
PW: You're in the unusual position of having published eight books in roughly 18 months with one house [Blood of Victory is the latest]. How has it been working with the Random House crew between hardcover and paperback?
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PW Talks with David Ball
PW: Your previous work of fiction, Empires of Sand, was a historical novel. What inspired you to write China Run, a story of Americans adopting an infant girl from China?
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PW Talks to Ben Tyler
PW: Your first novel, Tricks of the Trade, was a top seller. Now, you've written Hunk House. Are you concerned with being pigeonholed as a writer of gay fiction?
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PW Talks with Alice Sebold
PW: Your memoir focused on rape—your brutal rape when you were a student at Syracuse University in 1981. Your novel, The Lovely Bones, is about a rape and murder. Was it a relief, or a horror, to re-imagine a rape?
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PW Talks with Ethan Hawke
PW: You've said that deciding to write your first novel, The Hottest State, was one of the scariest things you've done, and now you've gone and written another. How did your experience differ with Ash Wednesday.
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PW Talks with Nick Cook
PW: Your research into zero point energy took you into no-go areas for a high-profile defense reporter and editor—UFOs, the paranormal, "black" programs. What was your strategy for handling them?
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PW Talks with Toby Young
PW: In writing How to Lose Friends and Alienate People, how did it feel to relive your traumatic experiences at Vanity Fair?
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PW Talks with Charles O'Brien
PW: What is the relationship between your works of fiction and your career as a historian?
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PW Talks to Paul Eddy
PW: In Flint's Law, Grace Flint's tear-away pursuit of her adversaries brands her as a rogue operative, as did your previous novel about her. Is it actually possible for individual agents to mount solo investigations as she does?
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PW Talks with Elizabeth Maguire
PW: The jacket design for your mystery debut, Thinner, Blonder, Whiter, is sexy and posh. Yet you're known as a publisher of serious books about race, gender and class inequalities. Have you been keeping the "real" you in check?
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PW Talks with Philip Caputo
PW: You may be better known as a fiction writer, and you even dealt with Africa in one of your previous novels, Horn of Africa. What do you find are the distinct challenges of writing fiction and nonfiction, such as in your newest book, Ghosts of Tsavo?
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PW Talks with Katharine Holabird
Back in 1983, Angelina Mouseling, a feisty young ballet enthusiast, pirouetted into the children's book world as the heroine of Angelina Ballerina, a picture book by Katharine Holabird, illustrated by Helen Craig. Holabird, an American-born mother and former nursery school teacher living in England, and British artist Craig became a fine-tuned team, creating a series of nine Angelina adventures.
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PW Talks with Ayelet Waldman
PW: You have a lot in common with Juliet Applebaum, the heroine in A Playdate with Death. Like you, she's an attorney and a former federal public defender who gave it up to become a stay-at-home mom. What prompted you to start writing?
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PW Talks with T.D. Jakes
PW: Your new book, God's Leading Lady, promises to help women emerge "out of the shadows and into the light." Why did you write it?