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It was hard to write (“I felt pretentious”) so it was suggested someone ghost it “as if I was a footballer”, but in the end he employed his son, and the resulting transcript came from conversations recorded in the car between the two of them.
Browne has an electric way with words but says his first love has always been drawing.
Other “small minded, horrid folk” project their own racial prejudice onto his chimpanzee protagonists.
He bats his hand as if to pooh pooh these people: “I never want to make a child worried or afraid and I don’t think I do.
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“That job was about accuracy, but there was room for creativity.
Just three months left as Children’s Laureate, and everyone’s acting as if he’s dead. “Having a memoir and a retrospective of your work running almost simultaneously when you’re still alive does feel a bit posthumous.” We’re in Foyles’ café on a Friday night, drinking water and listening to Prince.
Browne is small with speckled hair and a warm face he keeps low to the table but still, to his disbelief, he’s getting recognised. Especially following in Michael Rosen’s footsteps.” He has a point.
These include shifting landscape from 1999’s Voices in the Park, images from one of his most commercially successful character series, Willy the Wimp, which tackles sophisticated themes of bullying and gangs and an interactive woodland from 2005’s Into the Forest.
The comparatively less cheerful memoir, Playing the Shape Game, is already out and explains the source of the gorillas which first appeared in his breakthrough work, Gorilla in 1983 but have been a recurring theme throughout subsequent books.