an bird essay

Essay on Birds

500 words essay on birds.

Birds are very special animals that have particular characteristics which are common amongst all of them. For instance, all of them have feathers, wings and two legs. Similarly, all birds lay eggs and are warm-blooded. They are very essential for our environment and exist in different breeds. Thus, an essay on birds will take us through their importance.

Importance of Birds

Birds have different sizes and can be as small as 2 inches and as big as 2.75 metres. For instance, bee hummingbird (smallest) and ostrich (largest). Bird’s existence dates back to 160 million years ago.

There are different types of birds that exist which vary in characteristics. For instance, there are penguins that cannot fly. Further, there are birds that are known for their intelligence like Parrots and Corvidae.

Moreover, we have peacocks which are beautiful and symbolize rain and good weather. Next, there are bats and vultures as well. Birds connect very closely to the environment and are quite intuitive.

They can predict the weather conditions and some are kept near coal mines for the prediction of a mine explosion. It is because they are sensitive to the release of high levels of carbon monoxide. They are quite social and enjoy singing as well. Birds enjoy the freedom of moving anywhere without boundaries.

My Favourite Bird

My favourite bird is the parrot. It is a colourful bird that is present in many parts of the world. It comes in many shapes, sizes and colours. Parrots are famous for having vivid colours.

Some have a single, bright colour while others have a rainbow of different colours. Parrots are usually small and medium in size that mostly eats seeds, nuts and fruits. The lifespan of a parrot depends on its species.

Larger ones like cockatoos and macaws live for 80 years while the smaller ones like lovebirds live for around 15 years. In fact, parrots are quite intelligent. They have the ability to imitate human speech which is why many people keep them as pets.

Consequently, they are also the most sought-after type of bird for commercial purposes. All over the world, people are taking measures to ensure parrots get nice treatment. Many cultures also consider them sacred.

Parrots are highly intelligent and thrive at their best when they are free and not captured in cages. I used to have a parrot when I was little and I never kept it in a cage. It used to sit on my shoulder wherever I went and never flew away. Parrots are my favourite bird.

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Conclusion of the Essay on Birds

Due to hunting, poaching and disruption of the ecological balance, many birds are getting extinct. As a result, birds living in water like swans, ducks and more are also falling drastically in number because of pollution. Thus, we all must take proper measures to help the birds live and save them from extinction. Birds are vital for our ecosystem and its balance, thus we must all keep them safe.

FAQ of Essay on Birds

Question 1: How can we save birds?

Answer 1: We can save birds by doing little things like providing a source of water for them to drink. Further, we can elevate bird feeders and plant native plants and trees for them. Similarly, we can put up birdhouses and garden organically so that birds can feed on insects and worms.

Question 2: Why birds are important in our life?

Answer 2 : Birds are significant for our environment as well as for human beings as they play an important role in every living thing present on earth. Birds are one of the seed dispersers for plants who deliver us food, shelter and medicines and more.

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How to Write an Essay on Birds: 9 Interesting Areas to Focus

How to write an essay on birds? There are some interesting facts you can write about. Information about birds can be an excellent source for a creative essay. Birds are found in every part of the globe, creating a large variety of species to write about, especially when well-researched. Interesting bird facts can create wonderful topics for an essay, including unique theses that a student can explore and develop an enjoyable piece of writing.

When writing an essay about birds, it’s important to consider researching these facts, especially their biological composition. For instance, one can write an essay about birds by highlighting some distinguishing characteristics between bird species. This type of writing would be most interesting in English, particularly due to the distinctive nature of scientific descriptions. You can also include a short note about their biological differences in each section to make the essay more appealing.

Interesting Facts for Writing an Essay on Birds

Feather distinction.

One of the most interesting topics for an essay on birds is their feather diversity. Birds have distinctive appearances in structure, order, and color. Feather distinction is one of the distinguishing characteristics between species. However, some species have different colors based on various biological and environmental factors. For instance, some bird species have distinctive differences between the feathers of a male and a female. In other cases, the differences may appear disorderly but are worth investigating.

Migration marvels and global distribution

Some bird species are migratory, traveling between regions, even continents. Since the migrations coincide with seasons, they create some migration marvels worth writing about. For instance, seagulls migrate between winter and summer, running from the cold weather. During their travels, the birds create awesome displays of their traveling routines, mating habits, and hunting traditions. This topic is most suitable for nature lovers, people willing to investigate many species for their beauty and scientific facts.

Nesting prowess

You can also write an essay on birds based on their architectural techniques. Birds build their nests differently depending on their size, primary predators, and location. While the weaverbird prefers loosely hanging tree branches, the penguin can only nest on the ground near mountains and ocean shores. The structure and composition of the nest also differ significantly, creating an array of architectural designs to compare. Any person interested in birds understands the importance of a nest, especially during mating and incubation.

Egg laying facts

Birds are oviparous or egg-laying animals in English. Different species lay different egg sizes, colors, and shapes. They have distinctive characteristics based on their egg-laying habits, including location and responsibility. Some birds, such as the Cuckoo , exhibit parasitic behaviors in brooding. They lay their eggs in other birds’ nests, forcing the foster parents to incubate a foreign egg and feed an adopted chick afterward. Egg-laying habits can be quite an impressive topic for an essay on birds, especially due to the amount of scientific evidence available online.

Sociocultural rituals

Another interesting concept you can write about birds is their social lives. Like humans and any other living thing, birds socialize on different occasions. Some live in large groups, while others are loaners. However, all birds have distinctive mating rituals. Some specials engage in colorful, elaborate courtship traditions. They display marvelous moves to attract mates, using their wings and, in some cases, their avian architectural prowess to assert dominance. Birds engage in long relationships that resemble marriage in humans. The bald eagle is a good example of a bird species that marries or mates for life. The differences in sociocultural behaviors can create an amazing topic for a good essay.

Cognitive capacity

Some bird species are worth writing essays about, especially those that have shown high intelligence. Students can investigate intellectual abilities in birds to find impressive topics for their term papers and final research. You can even hire an experienced academic writer to help with the information gathering and drafting. For instance, CustomWritings professional essay writing service is a prominent helper with over ten years of experience supporting students’ journeys. While intelligent avian is attractive, finding accurate and reliable supporting evidence on such a topic can be daunting. With professional assistance, you can access scholarly articles and integrate findings from research in your essay on birds.

Vocal abilities

Birds are also known for their vocalization capabilities. While students cannot transcribe bird songs into writing, investigations into singing abilities can constitute a good essay. Most importantly, one can research birds’ ability to vocalize or mimic different sounds. Some bird species are known for their vocalization, especially when imitating humans and other birds. Others can produce relatively unique sounds, making them an attractive piece of marvel for analysis.

Scholars and researchers tend to focus on the biological differences between birds. Notably, biologists have invested significantly in understanding the genetic differences for classification and knowledge gathering. With this information, students can develop exciting topics for their essays or end-term research papers. Another interesting point of focus is the survival instincts and abilities of birds. While some species rely on camouflage for safety, others are birds of prey. The details about each bird’s genetics can help explain distribution and preferences.

Life expectancy

Similarly, the biological differences explain the differences in life expectancy. It’s difficult to ascertain the length of life in wild birds due to constant migration. However, scientific evidence suggests that some birds live longer than others. A good essay writer would consider analyzing the reasoning behind these differences and identify genetic and environmental characteristics affecting the length of life.

How Do I Write an Essay on Birds?

The best approach for writing an essay on birds involves conducting sufficient research. A good student would start by identifying an interesting fact to write about birds and research it. The information gathered from the knowledge search can then be used to create a comprehensive essay topic with a compelling thesis. The interesting facts about birds can also be a good hook for the introduction. The essay on birds should be organized professionally, adopting a basic paper structure with an introduction, body, and conclusion.

Writing an essay on birds should also incorporate scientific and scholarly evidence. A good writer understands the need to integrate external sources with supporting and counterarguments. This approach will make your essay more interesting to read and easy to grade. Your professor may be impressed by your capacity to research a wild topic and investigate evidence found in scholarly works. Besides, supporting your arguments with reliable and verifiable arguments makes your writing believable. You can also impress the reader with ideas corroborating your knowledge of birds. For instance, you can integrate information about mating in an essay about birds’ vocal abilities to demonstrate a connection between the two issues. In the end, your essay about birds should be compelling and informative.

Essay on Birds for Students and Children in 1000+ Words

In this article, you will read an Essay on Birds for students and children in 1000+ words. It includes nature, living situation, voices, habitats, importance and 10 lines about birds.

So, let’s start this essay on birds…

Table of Contents

Introduction (Essay on Birds)

Birds are the unique creature that has the ability of flying. If they fly and spread wings in the sky, then an attractive scene is present.

In the morning and evening, the earth gets resonated with their killer. The beauty of forest-provinces is enhanced by their residence. Everyone is fascinated by their attractive colours.

Nature of Birds

Birds are very strange. Some black, some green and some purple. Their body is very light because of which they can fly easily. Their wings are light and colourful. They have two legs and two eyes.

With the help of the feet, they roam the earth . Some birds fly in the sky at very high altitudes, and some can decide only two-four feet distance.

Just as there are many types of variations found in the world, in the bird world also, many types of variations are found. But two characteristics are the same in all – one can fly, and the other is that all birds lay eggs.

Living Situation of Birds

Birds are deeply attached to nature . They live in forests, nesting in bushes and on trees. Most birds live in a shelter that it creates.

Collected the weeds, added the straw, and made a nest. Some birds are very skilled at building a nest, such bird’s know as nesting birds. They make it on sight.

Some birds do not make a nest and make a shelter in a tree cover. The woodpecker makes holes in the wood. Some large birds, such as peacocks , do not build nests and take refuge in bushes.

Voices of Birds

The soft tone of some birds attracts us. Cuckoo, papaya, parrot, etc. are all convincing of the melodious sound of birds. There is a great discussion of his voice in literature.

He has great praise in the compositions of poets. But the dialect of some birds is considered hoarse. It has also been said that who does the cuckoo give and what does the crow take, but everyone dislikes it because of the ravenous bird of the crow.

In this way, the birds want to be free, but some birds are kept domestic by humans. Birds like pigeon, parrot , a rooster can be domesticated. The parrot is ensconced in many houses and can mimic the voice of a man.

It is kept in a cage and is known and considered a special symbol of peace. Rooster is very important from a commercial point of view. We obtain eggs and meat from them.

Eating Habits of Birds

Eagle, crow, heron, rooster, etc, are some birds that eat the flesh of dead or living animals. Some birds sit on the bodies of living beings like cows , buffaloes, and eat the parasites present on their bodies.

Carnivorous birds fill their stomachs by eating meat, fish, and insects. Their activities keep the balance of the environment on the earth. Many birds are herbivores. Vegetarian birds eat cereal grains, fruits, legumes, and vegetables.

Some birds live in inaccessible places. Penguin is one such bird. It can also survive in icy places in the Polar Regions. Some birds live in water. Cranes, heron, swan, watercourse, etc. are such birds. They can prey on the water for fishes and other small creatures on earth.

National Bird of India

Peacock is known as the national bird of our country, India. The wings of Peacock are colourful. It dances gracefully by spreading its wings. Various types of decorative items are made from their wings. It is a very adventurous bird. It defeats snakes in battle.

Importance of Birds

Keeping the environmental balance in mind, if birds have great significance in human life. Flying in the sky, these birds are very natural means of cleaning the environment. … How many animal birds is there that protect the flora useful for human life by eating insect germs and polluted things ?

Birds like heron, goose, and duck swim on the water and feed on the fish. A stork is a migratory bird that migrates according to the seasons. Birds also fly in the sky, run on the ground, and also swim on the water. Birds are also the identity of a nation.

Same as the national bird of India is a peacock, the Kiwi is recognised as the national bird of New Zealand. Some birds are in a particular country. The Kiwi bird is found only in New Zealand.

Humans have shared borders, but there is no border for birds. Birds can be allowed in any country of the world without permission. This entire world belongs to him, where a man cut trees in his greed.

The tree is a habitat for birds, and so it is our responsibility to protect the habitat of birds. Many birds are rare, which are going extinct. Birds are essential for life on Earth.

10 Lines on Birds

The survival or disappearance of animal birds is very harmful to humans.
Birds protect flora useful for human life by eating polluted items.
The number of the human race has increased, and the number of animal birds is decreasing day by day.
Flying in the sky, these birds are very natural means of cleaning the environment.
Birds continue to eradicate the rotting objects lying in the piles of garbage.
One should make the utmost effort to protect them at every level.
Birds which are necessary for our environment. Their number is continuously decreasing.
In this age of today, it has become difficult to spend a life of birds.
There are many such birds, those who live their rain in the fields.
To protect the birds from extinction, we should plant more and more plants.

Birds are an integral part of our environment. But because of poaching and dwindling forest area, some birds are in trouble. Some of these are becoming rare.

The government has enacted the Wildlife Act and sanctuaries for their safe abode. People should make reasonable efforts to save rare birds. I hope you liked this lovely essay on birds.

Thanks for reading.

1 thought on “Essay on Birds for Students and Children in 1000+ Words”

It is a nice essayvthanku fir help

Simple Essay on Birds in English for Kids and Students (500 & 1000 Words)

Essay on birds for students (1000 words).

Birds, members of the class Aves, are one of the most diverse and captivating groups of animals on Earth. With over 10,000 species found in various ecosystems across the globe, they display a wide range of behaviors, adaptations, and ecological roles.

Birds have long captured the human imagination, serving as symbols of freedom, beauty, and mystery. In this essay on birds , we will explore the world of birds, delving into their evolution, anatomy, behavior, ecological significance, and the unique characteristics that make them so fascinating.

Evolution of Birds

1. origins of flight.

The evolution of birds can be traced back to a group of small, bipedal, feathered dinosaurs known as theropods. Approximately 150 million years ago, during the Jurassic period, these theropods began to develop adaptations for powered flight, ultimately giving rise to the first true birds. Archaeopteryx, a famous fossil from the late Jurassic, is considered an important transitional species, showcasing both reptilian and avian features. The evolution of feathers played a pivotal role in the development of flight, providing both insulation and aerodynamic capabilities.

2. Adaptive Radiation

Following the emergence of true birds, they underwent remarkable adaptive radiation, leading to the diverse avian species we see today. This radiation saw the development of various ecological niches and specialized adaptations, such as beak shapes, wing structures, and feeding strategies, which allowed birds to exploit a wide range of environments, from forests and grasslands to deserts and oceans.

Anatomy and Physiology

1. feathers.

Feathers are perhaps the most iconic feature of birds. They serve multiple functions, including insulation, waterproofing, camouflage, and, of course, flight. Feathers are made of a protein called keratin, the same substance found in human hair and nails. The intricate structure of feathers contributes to their remarkable strength and flexibility, enabling the complex motions required for powered flight.

2. Skeleton and Musculature

The skeletal structure of birds is highly adapted for flight. Hollow bones reduce weight while providing strength, and the fused bones in the avian skeleton contribute to its rigidity. Powerful flight muscles, often constituting a significant portion of a bird’s body mass, enable birds to generate the force necessary for takeoff and sustained flight. Additionally, the unique structure of the avian respiratory system, including air sacs, allows for a continuous flow of oxygen, supporting the high metabolic demands of flight.

Birds are renowned for their exceptional vision. Many species have keen eyesight, with some raptors capable of spotting prey from great heights. The adaptations in their eyes, including a higher number of cones for color vision and a specialized structure called the pecten, enhance their visual capabilities.

Behavior and Communication

1. courtship and mating.

Birds exhibit a remarkable diversity of courtship rituals and displays. From the elaborate plumage of male peacocks to the intricate songs of songbirds, these behaviors play a crucial role in mate selection. Monogamy, polygamy, and even cooperative breeding systems are observed in various bird species, each with its own set of social dynamics.

2. Song and Vocalizations

Birds use vocalizations for a variety of purposes, including territory defense, communication within flocks, and attracting mates. The complexity of bird songs is astounding, with some species capable of mimicking other sounds, including human-made noises. The learning and development of songs in species like songbirds offer valuable insights into the neural basis of complex behavior.

3. Migration

Migration is a behavior observed in many bird species, enabling them to cope with seasonal changes in resource availability. The journeys of migratory birds cover thousands of miles and often involve impressive feats of navigation. Advances in tracking technology have shed light on the intricacies of these long-distance migrations.

Ecology and Conservation

1. ecological roles.

Birds play essential roles in ecosystems as pollinators, seed dispersers, scavengers, and predators. Their interactions with plants, insects, and other animals have far-reaching effects on the structure and function of ecological communities. Birds also contribute to nutrient cycling through their activities, such as nesting and foraging.

2. Threats and Conservation

Despite their ecological significance, many bird species face threats to their survival. Habitat loss, pollution, climate change, and invasive species have led to population declines and extinctions. Conservation efforts, including habitat restoration, captive breeding programs, and international agreements like the Migratory Bird Treaty Act, aim to protect these vital members of our ecosystems.

Notable Bird Species

1. bald eagle.

The bald eagle is an iconic symbol of the United States and a conservation success story. Once endangered due to habitat destruction and the effects of the pesticide DDT, the bald eagle has made a remarkable recovery following protective measures.

2. Albatross

Albatrosses are known for their incredible wingspans and long-distance oceanic flights. They are masters of dynamic soaring, a technique that allows them to cover vast distances with minimal energy expenditure.

3. Hummingbirds

Hummingbirds are renowned for their rapid wing beats, hovering abilities, and iridescent plumage. Their unique feeding behavior involves sipping nectar from flowers while hovering, and they play a crucial role in pollination.

Birds are amazing. They show how animals can change and adapt over time. Birds started out as feathered dinosaurs. Now they fly high in the sky like eagles. Or sing beautiful songs.

Birds do interesting things. Their bodies are complex. They play key roles in nature. So we should protect birds and their homes. This will keep them around for future generations. It will help keep nature in balance.

Birds Essay in English (500 Words)

Introduction: Birds, the feathered denizens of the skies, are a fascinating and diverse group of creatures that have captured the human imagination for millennia.

From the majestic eagle soaring high above the mountains to the tiny hummingbird, hovering delicately by a flower, birds inhabit virtually every corner of our planet, adapting to a wide range of environments and playing vital roles in ecosystems.

In this essay, we will delve deeper into the captivating world of birds, exploring their remarkable adaptations, behaviors, and ecological significance.

The Wonder of Avian Adaptations

1. feathers: nature’s masterpieces.

Feathers are the defining feature of birds, serving multiple functions beyond flight. While they enable powered flight in species like eagles and sparrows, feathers also provide insulation, waterproofing, and camouflage.

Their astonishing diversity includes everything from the iridescent plumes of peacocks to the specialized wing feathers of owls, allowing for silent flight.

2. Beaks and Bills

Birds exhibit a stunning variety of beak shapes and sizes, each finely tuned to their dietary preferences. From the long, probing bills of hummingbirds to the powerful, hooked beaks of raptors, these adaptations enable birds to access and consume a wide range of foods, including nectar, seeds, fish, and insects.

3. Migration Marvels

Many bird species engage in remarkable long-distance migrations, covering thousands of miles. These epic journeys are driven by seasonal changes in resource availability. Navigation and orientation abilities honed over generations allow them to traverse oceans, deserts, and mountains with astonishing precision.

The Symphony of Birdsong

1. communication and song.

Birds are renowned for their vocalizations, with each species having its unique repertoire of calls and songs. These sounds serve various purposes, from attracting mates and defending territories to communicating within flocks and warning of predators.

The songs of birds, such as nightingales and canaries, have inspired human musicians and poets for centuries.

2. Complex Learning

The ability of some bird species, notably songbirds, to learn and imitate songs is a testament to their cognitive prowess. Young birds learn their songs from adult conspecifics, and this process involves the brain regions responsible for learning and memory. Studying this behavior has provided insights into the neural basis of complex learning.

Ecological Significance

1. pollinators and seed dispersers.

Birds play crucial roles in ecosystems as pollinators and seed dispersers. Hummingbirds and sunbirds, for example, are effective pollinators for numerous plant species. Additionally, birds consume fruits and disperse seeds, aiding in the regeneration of forests and the diversity of plant life.

2. Pest Control

Many bird species are voracious insectivores, helping to control insect populations. Barn swallows and purple martins, for instance, consume large numbers of flying insects, benefiting agriculture and reducing the need for chemical pesticides.

Conservation Challenges

1. habitat loss.

Habitat destruction remains one of the most significant threats to bird populations worldwide. Deforestation, urbanization, and agricultural expansion continue to fragment and degrade natural habitats, pushing many species towards endangerment or extinction.

2. Climate Change

Climate change poses additional challenges to bird populations. Shifts in temperature and precipitation patterns can disrupt migration timing, alter food availability, and impact nesting success. Birds must adapt rapidly to these changing conditions, often facing an uphill battle for survival.

The preservation of birds and their habitats is not merely an ecological concern but also a moral and cultural imperative. Conservation efforts, from establishing protected areas and wildlife corridors to reducing pesticide use and promoting sustainable land management practices, are essential to safeguarding avian biodiversity.

Birds, with their stunning adaptations, captivating songs, and vital ecological roles, enrich our lives in countless ways. They remind us of the intricate web of life that connects all living beings on our planet. As stewards of the Earth, it is our responsibility to cherish and protect these feathered wonders, ensuring that the skies continue to be filled with their symphony of life and diversity for generations to come.

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School Education /

Essay on Birds in 600 Words for School Students in English

Updated on
Jan 15, 2024

Essay on birds: Did you know that the fastest bird, the Peregrine Falcon, can fly at a speed of 300km per hour? Birds are an important part of our environment and help with the ecological balance.

We all love the chirping sound of birds. But do you know that listening to the chirping birds can help you reduce your stress? Yes, it is about wondering how the language of any creature can help humans in their tough times.

Another, most interesting fact about birds is that they are found everywhere in the atmosphere. From the coldest region on Earth to the warmest place on Earth, you can find birds everywhere, and this way they bring you closer to the natural world.

Table of Contents

1 Types of Birds
2 Why Birds are Important for the Environment
3 Why are Birds Endangered?

Types of Birds

It is assumed that in total there are 11,000 species of birds and among those species, there are 50 billion birds that live on the Earth. In the huge population of birds, we can classify the population based on their habitat, the type of food they eat, how they appear, their vocalization and as well as the fact of fun, which generally belongs to the family of corvid, the strongly built and stout billed birds around 9 to 28 inches long.

Why not share some details about the type of birds in short?

The habitat birds or bird habitat are the type of birds that are restricted to a specific area. These areas meet all the requirements of the essentials needed by the type of habitat birds.

It is surprising that birds too have their unique tastes related to the type of food they eat.

We can classify such categories into sub-categories such as Carnivorous which feed on meat, Avivorous are the birds that eat other birds, Insectivorous are the birds that feed on insects, Granivors main food includes grain and seeds, Mucivorous feed on the mucus of plants and trees, Nectivorous are the birds which are feed on the nectar of flower, and last but not the least Palynivorous are the birds which only eats pollen of flowers.

Why Birds are Important for the Environment

Where on the one hand birds provide peace to the human brain so on the other hand they also help the ecosystem. It helps in pollination, and fertilization and helps in bringing a new flower into the world. As scavengers birds, they also help bring back nutrients into the ground and help the ecosystem keep clean by consuming the dead organisms.

It will be a surprising fact for you that even the poop of birds can fertilize the land for your crop. All the services of birds that help the planet keep growing are called ecosystem services.

Why are Birds Endangered?

After learning about the list of benefits of the birds for the environment, it becomes more important to know why the birds are at risk or endangered.

One of the major reasons for the extinction of birds is the expansion of the human population and its settlement. Cutting down trees, clearing the forest for timber or urbanization makes further mating and availability of food difficult. Also, the spreading of pollution, and the use of pesticides which when consumed by the birds not only make them unhealthy but also become one of the major reasons for their death.

¨I never saw a wild thing sorry for itself. A small bird will drop frozen dead from a bough without ever having felt sorry for itself.¨

D. H. Lawrence

In conclusion, birds are just not the mode of entertainment or bringing peace to our minds. They are the best gift from the almighty to our Earth and desire to live in the same way as any other creature exists. Dreaming to live like a bird is easy but to endanger a bird without our profit is a bit hard, but as humans, we can do this and return them what they give us.

Also Read: Birds of a Feather Flock Together Meaning and Example

Ans: Birds help in the process of pollination, their poop can fertilize the soil, they help in controlling pests, and helps in the dispersal of seeds.

Ans: A bird is a warm-blooded animal, featured with feathers that are modified from forelimbs.

Ans: The five characteristics of birds are: Birds have feathers; not all birds can fly; the beak of birds is made up of a bony core which is surrounded by a layer of keratin that is thin; all birds lay eggs with a hard shell mostly made up of calcium; and birds help in reducing stress.

Ans: Yes, birds are adoring and attractive pets.

For more information on such informative articles for your school, visit our essay writing page and follow Leverage Edu .

Deepika Joshi

Deepika Joshi is an experienced content writer with expertise in creating educational and informative content. She has a year of experience writing content for speeches, essays, NCERT, study abroad and EdTech SaaS. Her strengths lie in conducting thorough research and ananlysis to provide accurate and up-to-date information to readers. She enjoys staying updated on new skills and knowledge, particulary in education domain. In her free time, she loves to read articles, and blogs with related to her field to further expand her expertise. In personal life, she loves creative writing and aspire to connect with innovative people who have fresh ideas to offer.

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Friday essay: on birds — feathered messengers from deep time

Senior Lecturer, Creative Writing, UTS, University of Technology Sydney

Disclosure statement

Delia Falconer does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

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When I experienced a great loss in in my early forties — almost a year to the day after another — I went to see my mother in the family home. She wasn’t a hugger or giver of advice, so instead we fed the birds. As she had when I was a child, she stood behind me in the kitchen with her shoulder propped against the back door, passing slices of apple and small balls of minced meat into my hand.

Each bird, apart from the snatching kookaburras, was touchingly gentle in the way it took food from my fingers. The white cockatoos ate daintily, one-legged. The lorikeets jumped onto the sloping ramp on both feet, like eager parachutists, to quarrel over the apple and press the juice from the pulp with stubby tongues.

Lined up on the veranda rail, the magpies cocked their heads to observe me before accepting meat precisely in their blue-white beaks. They had a beautiful, carolling song, with a chorded quality in the falling registers. But the bright-eyed butcher birds had the most lovely song of all: a full-throated piping, which I’ve heard compared to the Queen of the Night’s aria in Mozart’s Magic Flute.

Over decades, a family of these little blue-grey birds, had come to stack their hooked meat-eaters’ beaks with mince, which they flew to deliver to young somewhere in our neighbour’s garden, though we had never bothered to try to work out where they lived. This afternoon, when my mother and I opened the door, they landed by our side as they always had, having spotted us from their watching places. For a brief moment, surrounded by these vital creatures, I felt as if I might still want to be alive.

Small agents

Birds have always been small agents charged with carrying the burden of our feelings simply by following the logic of their own existence. The Irish imagined puffins as the souls of priests. The ancient Romans released an eagle when an emperor died in the belief it would “conduct his soul aloft”. In the Abrahamic religions, doves are given powers of revelation. We have even been inclined, right up until the present, to imagine birds as the souls of our recently departed returned to us, if only for a moment.

Even without being recruited into such labour, birds touch on our lives in small but significant ways. Once, in the botanical gardens of Melbourne, a boyfriend laughed until he almost cried at the mechanical, eager hopping of the tiny fairy wrens, a fact that only made me like him more. A friend tells the story of her uncle who ordered quail for the first time at a restaurant and cried when he saw it on his plate. “She had a raven’s heart, small and obdurate,” American author Don DeLillo writes of a nun in Underworld ; it is my favourite description in any novel.

In Japan, where my partner and I tried to ease our sadness, the calls of crows were ubiquitous in every town. Like the low sounds of its deer, they had a subdued, almost exhausted quality, as hollow as the bells that are rattled to call the oldest spirits to its Shinto temples.

In 1975, when his first wife left him, Masahise Fukase began to photograph these birds, which he had seen from the window of a train. He would keep taking their pictures – on a hilltop tori at dusk, grouped on the budding branches of a bare tree, in flying silhouette – for ten years. Ravens would become one of the most famous books of modern photography , hailed as a “masterpiece of mourning”. While some people see the birds in his photos as symbols of loneliness I see them as embodiments of pure intention. “I work and photograph to stop everything,” Fukase said. As if fulfilling a prophecy, he would spend the last two decades of his life in a coma, after falling down the stairs at his favourite bar.

Yet for all our emotional investment in them, we’ve never treated birds particularly well. To train a falcon in Qatar, owners sew the young bird’s eyes shut, unstitching and then restitching them for longer intervals, until it is entirely dependent on its keeper. In Asia the appetite for caged songbirds is so great that their calls are disappearing from its forests. Our careless acceptance that these extraordinary creatures are subject to our will is perhaps as damning as any direct mistreatment of them. This is symbolised for me by that fact that, in North America, owners of long pipelines add a putrid odorant to the natural gas they carry so that turkey vultures, circling over the deathly smell, will alert them to methane leaks.

We are currently draining marshes globally three times faster than we are clearing forests. Migratory Red Knots fly 15,000 kilometres per year between Australia and their breeding grounds in the Arctic Tundra, but they’re declining because of the industrial development of the Yellow Sea’s tidal mudflats, where they stop to feed and rest. One of the details that most haunted me in the reports of Australia’s mega-fires was the fact that many birds that survived the radiant heat would die of smoke inhalation because the continuous one-way airflow of their breathing systems and air sacs meant they couldn’t cough to clear their lungs.

When we first moved into my childhood home, wattlebirds fed in the grevilleas, calling from the rockery with voices that sounded, as a poet once said to me, like the cork being pulled from a bottle of champagne. While their long forms ending in a slim, curved beak seemed the embodiment of alertness, they were the birds our cat caught most often. To see one, rescued but internally injured, vomit up its honey and grow limp was one of my first intimations as a child of the world’s evils. Unable to bear the thought of their sleek, streaky bodies in the bare earth, my mother would bury them wrapped in tea towels. But it was the 70s and no one thought to keep the cat inside.

As my mother entered her nineties, her life contracted around her birds. Although experts were now advising that the lack of calcium could soften chicks’ bones, I continued, against my conscience, to put through her weekly grocery order, which contained as much bird mince as food for herself. She had stopped feeding the cockatoos, which had chewed her windowsills and the struts of the back door, but when they heard us in the kitchen they would still plaster their chests like great white flowers against the window or poke their heads through the large holes they’d made over the years in the door’s wire fly screen.

But it was only the butcher birds that ever entered through these gaps to wait for her by the sink, feathers fluffed calmly. Once or twice, one would come and find her in the dining room and quietly walk back ahead of her to be fed. When I came with the children, she would press food into their hands as she stood behind them at the door, leaning against the kitchen counter for support. So she continued to be one of the estimated 30 to 60% of Australian households that fed wild birds, a statistic that suggests that we need them far more than they need us.

Scientists began to think in the 19th century that birds might have evolved from dinosaurs, when the 150-million- year-old fossil skeleton of Archaeopteryx — which we now know was capable of short bursts of active flight — turned up in a German quarry.

The Victorian biologist Thomas Henry Huxley observed the bony-tailed, feathered fossil’s striking resemblance to small dinosaurs like Compsognathus and proposed that it was a transitional form between flightless reptiles and birds. Huxley’s theory fell out of favour until the last decades of the 20th century, when a new generation of palaeontologists returned to the similarities between the metabolisms and bird-like structures of dinosaur fossils and birds, and there is now a consensus that birds are avian dinosaurs. That the birds with which we share our lives are the descendants of the hollow-tailed, meat-eating theropods is a true wonder that never fails to thrill me.

Birds, like us, are survivors. They escaped the Cretaceous-Paleogene (or K-Pg) mass extinction event 65 million years ago: the fifth and last great dying in the history of our planet, until the Sixth Extinction taking place around us now.

Scientists were able to work out, from unusually high deposits of rare iridium (which mostly comes from outer space) in the Earth’s crust that a ten-kilometre-wide asteroid hitting the area that is now Mexico’s Yucatán Peninsula had killed off three quarters of the world’s living creatures by causing forest fires and then a freezing “nuclear winter,” which inhibited photosynthesis and rapidly acidified the oceans. Its blast was thousands of times more powerful than the combined force of all the nuclear weapons in the world today. The dust and debris it dispersed into the atmosphere eventually settled into a thin grey band of iridium-rich clay, which came to be called the K-Pg boundary and, above it, no trace of a non-avian dinosaur can be found.

In historical ironies whose obviousness would shame a novelist, it was geophysicists looking for petroleum in the 1970s who would discover the existence of the Chicxulub crater. Walter Alvarez, who discovered the “iridium anomaly”, was the son of physicist Luis Alvarez, a designer of America’s nuclear bombs, with whom he posited the asteroid strike theory; Alvarez senior had followed in a plane behind the Enola Gay to measure the blast effect as it dropped “Little Boy” on Hiroshima.

The ground-dwelling, beaked avian dinosaurs were able to scratch out a life for themselves in the ferny “disaster flora” that replaced the obliterated forests; their intelligence, their feathery insulation, their ability to feed on the destroyed forests’ seeds, and to digest the “hard, persistent little morsels” as one writer puts it, would help them to survive, and later flourish.

More incredibly, these dinosaurs were already recognisably bird-like, inside and out; capable of at least short horizontal flight like quails, the parts of their brains that controlled sight, flight and high-level memory as expanded as those of modern birds’, while our early mammal ancestors — small, nocturnal, insectivorous, shrew-like mammals — were hiding in clefts and caves.

It is now thought that the world’s oldest modern bird, Asteriornis maastrichtensis , could probably fly and was combing the shallow beaches of today’s Belgium, in the way of modern long-legged shore birds, 700,000 years before the K-Pg mass extinction.

Because of a wealth of new fossil evidence in China, we now also know that feathers are far more ancient than we once thought; they didn’t evolve with birds 150 million years ago but are instead probably as old as dinosaurs themselves. In fact, many of the dinosaurs that we have been trained to think of as scaly, were at least partially feathered, including the fearsome Tyrannosaurus Rex , which may have used its primitive feathers, like a peacock, for display.

Powerful electron microscopes have allowed scientists to determine that the long filaments covering 150-million-year-old Sinosauropteryx , the first feathered non-avian dinosaur discovered, in China, in 1996, were “proto-feathers”; and even, looking at the melanosomes inside them, that they were ginger, running in a “Mohican” pattern down its back and ending in a stripey white-and-ginger tail. Similar examination of the melanosomes of another Jurassic-era theropod found that it had a grey-and-dark plumage on its body, long white and black-spangled forelimbs, and a reddish-brown, fluffy crown.

Scientists are puzzled about what dinosaurs’ feathers, which developed before the capacity of feathered flight, were “for”, but I don’t really care: the fact of them is startling enough, along with the imaginative readjustments we have to make in seeing the fearsome creatures of paleoart that we grew up with, locked in orgasmic conflict, as softly plumaged. Did their young call for them with the same open-mouthed yearning as baby birds, I wonder? Did they possess their own sense of beauty? If we imagine dinosaurs as being less alien and fluffier, does it make our own era’s potential annihilation seem more real?

Read more: Meet the prehistoric eagle that ruled Australian forests 25 million years ago

Over the last century folkorists and psychoanalysts have kept trying to account for birds’ deep hold over our imaginations; as agents of death, prophets, ferriers of souls, omens, and symbols of renewal and productivity. Some attribute it to the power of flight and their ability to inhabit the heavens, others to the way eggs embody transformation. But could it be that the vestigial shrew-like part of ourselves has always recognised them instinctively as the emissaries of a deep past, much older than we are? “We float on a bubble of space-time,” writes author Verlyn Klinkenberg , “on the surface of an ocean of deep time”.

Recently, this deep past has begun to reassert itself as, even during coronavirus lockdowns, burned fossil fuels continue to release carbon dioxide into the atmosphere, bringing its concentration in the air to levels not seen since the Pliocene three million years ago when the seas were 30 metres higher. To try to help us understand the literal profundity of this moment in the history of the earth, writers have been looking increasingly below its surface, far beyond the human realm, to its deepest, billions-of-years-old strata.

In his astonishing Underland , English writer Robert Macfarlane travels physically far underground into caves, mines, and nuclear waste bunkers, to revive our ancient sense of awe as forces and substances once thought safely confined there begin to exert themselves above ground, but also to convey the enormity of the long shadow we will cast into the future of a planet that has already seen periods of great transformation.

In Timefulness , geologist Marcia Bjornerud argues that understanding the Earth through her discipline’s vastly expanded time-scales can help us avoid the almost unthinkably grave consequences of our actions. We live in an era of time denial, she writes, while navigating towards the future with conceptions of the long patterns of planetary history as primitive as a 14th-century world map. And yet, she writes, “as a daughter, mother, and widow, I struggle like everyone else to look Time honestly in the face.”

Yet here, I think, all around us on the surface of the planet, are our vivacious and inscrutable companions, feathered messengers from deep time, who still tell their own story of complex change.

What lives and dies

At a writer’s festival in northern New South Wales, I remember, a magpie lark landed between the chair and speaker on stage to let forth a cascade of liquid notes, “as if, to say,” a droll friend sitting next to me said, “I too have something to contribute!” while I found myself wondering, yet again, how something with such a small heart could be so alive.

To think about dinosaurs, as evolutionary biologist Steven Brusatte writes , is to confront the question of what lives and what dies. To think that dinosaurs were far more complex than we imagined, Klinkenberg muses, interrupts the chain of consequence we’ve been carrying in our heads, which assumes that deep time’s purpose was to lead to us as the end point of evolution. The history of feathers and wings, in which the power of flight appears to have been discovered and lost at least three times, shows that evolution is not a tree, but a clumped bush. And yet, Klinkenberg writes, “Because we come after, it’s easy to suppose we must be the purpose of what came before.”

The same could be said of mothers. When the time came to choose the photographs for my mother’s funeral, the images of her as a child in Mexico and Canada seemed as unreal as dispatches from the moon. The photographs of our mothers as young girls are so affecting a friend wrote to me, because they show them living lives that were whole without us. Now my own children turn their heads away from pictures of me as a girl, because, they say, “You don’t look like you.” And yet, if our minds struggle to encompass the deep time of our mothers, I think, how can they hope to stretch across aeons?

On my last visit to my mother, I left her on her front step throwing meat to the two magpies which had learned to come around from the backyard, away from the other birds, and would follow her on stilted legs around the garden. When she pressed her emergency pendant the next morning, I missed her call; it was my partner, hearing her faint answers, who called the ambulance. Unconscious in the hospital, she died having never known that she had left her home. When I stopped back at the house afterwards, one of the butcher birds, which I had never seen around the front, was on the windowsill of her dark bedroom, break pressed against the glass, looking for her.

This is an extract from Signs and Wonders: Dispatches from a time of beauty and loss by Delia Falconer, published by Simon and Schuster.

Friday essay

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Essay On Birds

500+ words essay on birds, their characteristics and how they’re important for the environment.

Of all animals in the world, birds are one of the most fascinating creatures. These winged animals can walk on the ground and even fly high in the skies. The wings, the hundreds of feathers that cover their bodies and their hollow bones are what helps them lift their bodies and fly. But not all birds can fly, birds like ostriches and penguins are flightless birds.

There are thousands of species of birds on Earth and each of them is unique. Most of them are herbivorous, but a few species of birds are carnivorous. For example, kites, vultures, hawks, eagles etc are called birds of prey because they eat other animals.

Birds are extremely important for our environment. From pollination to keeping the earth clean and even predicting weather conditions, birds are extremely useful. In this essay on birds, learn about the characteristics of birds and how they’re vital to our ecosystem and it’s balance.

Essay On Birds: Characteristics Of Birds

Here are 5 major characteristics of birds:

Wings: Wings are what differentiate birds from other animals. These wings are what help the birds fly. But not all birds have wings. Some birds like penguins have flippers, which helps them swim.
Feathers: Feathers are another defining feature of birds, which separate them from other animals. Feathers help birds fly and also keep them warm and protect them against the elements.
Beak or bill: All birds have a beak or a bill, which is a bony projection on their faces. These beaks or bills are the entry to a bird’s mouth. Different species of birds have different kinds of beaks or bills depending on their diet. For example, predatory birds like hawks and eagles have sharp, hooked beaks, which helps in tearing and ripping meat. Birds with cone shaped beaks help them break the shells of nuts and seeds to eat them. Aquatic birds like ducks and geese have bills, which help them strain food from the water. Some birds like hummingbirds have a sharp needle-like beak that helps them suck nectar from flowers.
Skeleton: Another distinguishing feature of birds is their hollow and lightweight but strong skeleton. This is what helps the bird lift itself off the ground and fly into the sky. But this differs in flightless birds. Penguins have large, marrow-filled bones and fat, which protects them against the cold in their frozen habitat. Ostriches have heavy, solid bones and muscles in their legs, which gives them the strength to run at high speeds and kick powerfully.
Eggs: Another distinctive feature of birds is that they give birth to their young ones by laying and hatching eggs. Most birds construct nests to lay and hatch their eggs and care for their hatchlings.

Now that you know the different characteristics of birds, read on to learn about the importance of birds for our environment in this essay on birds.

Also explore: Essay on animals and Essay on Zoo .

Essay On Birds: The Importance Of Birds

Birds are an important part of our environment and food chain, they’re vital to maintain a balance in the ecosystem. In fact, sometimes we need birds more than they need us.

Pollination and Seed Dispersion: Birds are extremely important for pollination and dispersing seeds. This helps more plants grow. Additionally, bird droppings also add more nutrients to the soil, so they’re important for soil fertility too.
Balance the food chain: Carnivorous birds eat pests and rodents like mice, rats, snakes etc. This keeps a check on rodent population and helps in pest control. Birds that eat carrion help keep the environment clean of decaying matter.
Predicting weather: Birds are very intuitive creatures. They’re very sensitive to changes in weather and can sense high levels of carbon monoxide. So, they are often used to predict explosions in coal mines.

Sadly, these beautiful creatures are in danger. The greed of humans, climate change and pollution pose a threat to these fascinating creatures. We need to ensure that the species survives to keep the ecosystem from falling apart.

We hope you found this essay on birds helpful. For more such essays on different topics, check Osmo’s essays for kids .

Frequently Asked Questions On Birds

What are the characteristics that distinguish birds from other animals.

The characteristics that distinguish birds from other animals are their wings, feathers, beaks or bills and their lightweight and hollow skeleton.

How are birds important to the environment?

Birds are important for dispersing seeds and pollination, pest control, balancing the food chain and predicting the weather.

Vishal's account

Essay On Birds – 10 Lines, Short and Long Essay

Key Points to Remember When Writing An Essay On Birds For Lower Primary Classes

10 lines on birds for kids, paragraph on birds for children, short essay on birds in english for kids, long essay on birds for children, amazing facts about birds for children, what will your child learn from the essay on birds.

Birds, a beautiful part of nature , add joy to our world with their lovely colours, delightful songs, and graceful flights. This article presents a comprehensive bird essay in English designed to engage children and fuel their curiosity about these fascinating creatures. Writing essays on fascinating subjects like birds is a fantastic way to enhance a child’s cognitive abilities . It enhances their research, analysis, and writing skills , ultimately improving their academic performance .

Creating an engaging and informative essay about birds for lower primary classes requires a clear understanding of the subject. Here are some key points to keep in mind:

Always start with an interesting introduction.
Keep the language simple, making it easy to understand.
Use fun facts to keep young readers engaged.
Include colourful illustrations, if possible.
Finally, end with a thought-provoking or fun conclusion.

In this section, you’ll find an essay on birds for class 1 & 2 children, consisting of 10 simple lines. This brief write-up gives children their first taste of essay writing , with a few lines on birds:

1. Birds are lovely creatures that can fly high in the sky.

2. They have two wings, two legs, and a beak.

3. Birds come in many different shapes, sizes, and colours.

4. They lay eggs, and their babies are called chicks.

5. Birds eat various foods like insects, seeds, fruits, and nectar.

6. Many birds migrate long distances when the seasons change.

7. Some birds can talk or sing beautifully.

8. The peacock is known for its vibrant, colourful feathers.

9. The owl can turn its head almost completely around.

10. Birds help in pollination and seed dispersal.

Next, let’s explore a bird paragraph tailored for young readers. This section, slightly more detailed than the last, provides an opportunity to dive deeper into the fascinating world of birds.

Birds are vital to our ecosystem, bringing it to life with their vibrant colours, charming songs, and remarkable abilities. They vary significantly in size, colour, habitat, and behaviour. Some birds, like sparrows and pigeons, live close to human settlements, while others, such as eagles and penguins, thrive in remote areas. Birds communicate through various sounds, and some can even mimic human speech. Birds are fascinating creatures; understanding them can provide valuable insights into the natural world.

Here is a short essay for students in classes 1, 2 and 3:

Birds, fascinating sky creatures, have captivated human beings for ages. Their grace, beauty, and flying ability make them unique among all living beings. From their colourful plumage to melodic songs, birds are essential to our ecosystem and hold a special place in our hearts.

Birds are delightful creatures that bring joy to our lives. They come in various shapes, sizes, and colours. Some popular ones include sparrows, pigeons, parrots, and peacocks. Birds have feathers and wings that enable them to fly high in the sky, soaring through the clouds. They build nests to lay eggs and take care of their young ones. Watching birds in nature is a delightful experience that teaches us to appreciate the world’s beauty.

Birds, the enchanting creatures of the sky, have long captured the imaginations of people, young and old. From graceful flights to vibrant plumage and melodic songs, birds have an undeniable charm that makes them fascinating subjects to study. In this essay on birds for class 3 and above, we will delve into the captivating world of birds, exploring their diverse species, unique characteristics, ecological significance, and the places they call home. As we embark on this avian adventure, we hope to instil a deeper appreciation for these feathered wonders and their crucial role in maintaining the delicate balance of our planet’s ecosystems. So, let us spread our wings of curiosity and soar into the captivating realm of birds!

What Are Birds?

Birds are warm-blooded vertebrates characterised by their feathers, beaks, and the ability to fly. They belong to the class Aves and are found in various habitats worldwide, ranging from polar regions to tropical rainforests. With around 10,000 species, birds exhibit remarkable diversity in appearance, behaviour, and ecological roles.

Significance of Birds

Ecological Balance: Birds are crucial in maintaining environmental balance by controlling insect populations, dispersing seeds, and promoting ecosystem biodiversity.
Pollination: Some bird species act as pollinators for various plants, facilitating the process of reproduction and the production of fruits.
Indicators of Environmental Health: Birds’ presence and behaviour in an area can serve as indicators of the environment’s overall health and the impact of human activities.
Economic Importance: Birds contribute significantly to the economy through birdwatching tourism, poultry farming, and pest control services.

Characteristics Of Birds

Feathers: Feathers are a bird’s defining feature. They provide insulation, aid in flight, and display vibrant colours for courtship displays.
Hollow Bones: Birds have lightweight, hollow bones that reduce their weight, making flying easy.
Beaks: A bird’s beak size and shape are adapted to its diet, enabling it to catch, eat, and process food efficiently.
Endothermy: Birds are warm-blooded, maintaining a constant body temperature, essential for their high-energy activities like flying.
Oviparous: Birds lay eggs, which hatch into chicks, and the parents care for their young until they are independent.
Excellent Vision: Birds have well-developed eyesight, allowing them to spot prey from afar and navigate through various environments.

Type Of Food Birds Eat

Depending on their species, birds are omnivores, herbivores, carnivores, or insectivores.
Some birds, like eagles and hawks, are carnivores, hunting for small animals and fish.
Herbivorous birds, such as pigeons and doves, primarily feed on seeds, fruits, and plants.
Insectivorous birds like swallows and sparrows consume insects, helping control insect populations.

Places Where Birds Live

Forests and Woodlands
Wetlands and Marshes
Grasslands and Savannas
Coastal Areas and Seashores
Urban Areas and Gardens
Arctic and Antarctic Regions

My Favorite Bird

My favourite bird is the majestic peacock. With its stunning tail feathers, the peacock displays a mesmerising dance during courtship. It symbolises beauty, grace, and pride. The vibrant colours and intricate patterns on its feathers leave me in awe of the wonders of nature. Birds are integral to our ecosystem, providing aesthetic and ecological benefits. They teach us to appreciate the diversity and beauty of the natural world. Let us cherish and protect these beautiful creatures to ensure a harmonious coexistence on our planet.

Children love exciting trivia. Here are some amazing bird facts:

The smallest bird in the world is the Bee Hummingbird, less than 2.5 inches long ( 1 ).
The largest bird is the Ostrich , standing up to 9 feet tall ( 2 ).
Some birds, like the Arctic Tern, migrate over 25,000 miles yearly ( 3 ).
Parrots can mimic human speech ( 4 ).
Penguins are birds that cannot fly but are excellent swimmers ( 5 ).

This essay on birds helps children understand the vast diversity of birds and their vital role in maintaining the ecological balance. It also nurtures their curiosity, encourages their research abilities, and improves their writing skills.

1. Which was the first bird on the Earth?

The first bird on Earth was Archaeopteryx ( 6 ), which lived about 150 million years ago during the Jurassic period.

2. How many types of birds are there in the world?

There are about 10,000 known bird species in the world ( 2 ).

3. Why and How Should You Save Birds?

Birds play a crucial role in our ecosystem. We can save birds by conserving their habitats, avoiding harmful pesticides and single-use plastics, and supporting organisations that protect bird populations ( 7 ).

4. How long can birds live?

Bird lifespan varies widely. While some small birds live for only a few years, certain species, like parrots and albatrosses, can live up to 60-80 years.

5. What are the threats faced by birds?

Birds face numerous threats, including habitat loss, climate change, pollution, hunting, and the introduction of invasive species. These threats often decrease bird populations and can even result in the extinction of certain species.

Birds are indeed one of nature’s most delightful creations. Their dazzling diversity, fascinating abilities, and integral role in our ecosystem make them a compelling subject of study. Writing an essay on birds encourages children to explore the intriguing world of these winged wonders and cultivates their appreciation for biodiversity and the need to preserve it. In understanding and valuing birds, we are, in essence, taking strides towards nurturing a generation that respects and protects our planet’s myriad life forms. So, the next time a bird flits across your path, take a moment to appreciate its beauty and consider its crucial role in the harmony of life on Earth.

References/Resources:

1. Hummingbirds; BirdLife International; https://www.birdlife.org/birds/hummingbird/

2. Top 15+ Biggest Birds in the World; Geeks for Geeks; https://www.geeksforgeeks.org/worlds-largest-birds/

3. Arctic Tern; Cornell Lab All About Birds; https://www.allaboutbirds.org/guide/Arctic_Tern/overview

4. Why Do Parrots Talk; National Audubon Society; https://www.audubon.org/news/why-do-parrots-talk

5. Why can’t penguins fly?; Cornell Lab All About Birds; https://www.allaboutbirds.org/news/why-cant-penguins-fly/

6. The Origin of Birds; Understanding Evolutions; https://evolution.berkeley.edu/what-are-evograms/the-origin-of-birds/

7. 7 Simple Actions to Live Bird Friendly; Smithsonian’s National Zoo & Conservation Biology Institute; https://nationalzoo.si.edu/migratory-birds/7-simple-actions-live-bird-friendlyr

Also Read: Beautiful Bird Poems for Kids

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Essay on Birds 3 Models

Last updated Friday , 15-03-2024 on 10:59 am

Essay on birds is interesting because it deals with the life of birds in detail. Several examples such as a short essay on types of birds, a paragraph on raising birds at home, the economic value of keeping birds, names of some birds of prey, how to take care of domestic birds, how birds take care of their young, and what is the largest bird.

Information about birds that benefit all students, the food of birds, their reproduction, in addition to the migration of birds, why do birds migrate from their home to another place that may be thousands of kilometers away from their original home.

Essay on birds is a sample topic for fourth, fifth, and sixth grade students, and first, second, and third grade students of middle school and high school.

Essay on birds

Birds are beautiful creatures, which is why all children love them. There are many types of birds, which we will mention in the essay on birds, and the forms of birds differ in terms of size, color, and the way nests are built.

All birds are characterized by beauty and bright colors, in addition to the softness of their feathers. Some birds are able to fly very long distances, even crossing the ocean during their migration without resting. Among the few species that cannot fly at all are penguins and ostriches.

Birds are vertebrates, and they are among the most diverse organisms, with approximately 10,000 species. Birds live in a variety of environments, where they live in mountainous areas, deserts, forests and farms, fields, gardens, cities and homes. That is, they live in diverse environments.

Supernatural qualities distinguish some birds

Voice: God distinguished some birds with amazing sounds, which musicians cannot imitate. Examples include the goldfinch and other birds with wonderful sounds, which are more beautiful than the sounds of musical instruments in their beauty. Birds use sounds and vibrations to talk to each other. These sounds are the language of the birds through which they communicate, express their fear or happiness, and other important matters for them, such as places of food, water, and expressions of feelings also during the mating seasons.
Feather colors: Birds are characterized by the beauty of their feathers, and its bright colors, and there is an amazing consistency between the colors of birds, which no artist can imagine, just as fashion designers cannot imitate it with the same accuracy. In the essay on birds we will show examples of birds with dazzling colors as the peacock. The male peacock is considered a beautiful painting, as it is characterized by colors and patterns that no artist can paint with such beauty. The colors of birds have many benefits, including attracting females during mating seasons, hiding from enemies, and so on.
The power of sight: Some birds are distinguished by the power of sight, such as the falcon, the eagle, and others. The power of sight is useful in hunting prey, as they are seen and their movements are monitored from long distances. Thus, the bird can pounce on its prey without getting away from it. Birds of prey are often distinguished by the power of sight, as they can see prey 1.5 km away.
The strength of the limbs: Birds are characterized by the strength of their limbs, as they carry their prey with their claws for long distances. They carry prey to the top of the trees where they build their nests, they carry prey to feed their young, so it is important that their limbs are strong. Some birds also use their legs and wings to defend themselves, or to defend the young.
The strength of the beak: Birds’ beaks are generally considered strong, but in birds of prey they are strong and sharp. For example, a hawk or an eagle can slaughter its prey by using the beak. It can also tear the prey into small pieces that it can eat, and the bird also uses its beak to defend itself, and the best example of the strength of the bird’s beak is the woodpecker, which can make holes in the trunks of trees with its beak, while these trees were not affected by storms or rain, and a small bird was able to make large holes in the trunk of the tree so that this hole would be its home, and the birds also feed on solid grains.
Sharp claws: Birds have sharp claws, and this helps them in self-defense, as well as in steadfastness on tree branches, so they do not fall while they sleep. Likewise, birds of prey catch their prey with claws, so that they cannot escape, then they also carry it with their claws and fly in the sky until they reach their nests.

Interesting information about bird life

Birds are social beings: Most birds live in groups, flying in flocks. Essay on birds We explain the social life of birds, where there is understanding and cooperation between a group of birds, and they support each other. We also see the family bonding between birds, where both the male and the female participate in building the nest, incubating the eggs, feeding the young and defending them. The role played by the male or female varies depending on the type of bird. There are birds in which the male is in charge of preparing the nest, and in other birds the female is in charge of preparing the nest. Sometimes both the male and the female participate in preparing the nest. There are also birds, the male is associated with only one female throughout his life, and the birds grieve when they die or lose one of the spouses or one of the children, they have feelings of love and compassion.
Birds lay eggs: the size and color of eggs varies from one bird to another. The ostrich egg is the largest egg, while the smallest egg is the eggs of some types of small birds. Bird eggs are characterized by the strength and hardness of their shell to suit environmental conditions. The male and female exchange incubating the eggs until the young hatch, and in most cases the incubation period for eggs may reach 21 days, as in chickens, or 30 days, as in ducks, geese, and others.
The body of birds is lightweight: light weight helps them to fly. In the essay on birds, we will explain this, as birds have a lightweight body, and a streamlined shape that helps them fly. Birds were the source of inspiration for humans in the manufacture of aircraft, scientists have studied the physical characteristics of birds so that they can make aircraft. Its streamlined shape also helps it dive into the water and catch fish.
Feathers are soft and shiny: There is no doubt that bird feathers are the source of their beauty, but they also have other benefits, such as protecting the flying body from direct shocks, helping the bird to fly, protecting the bird from weather fluctuations, especially as it protects the bird from rainwater, as rainwater slips on the feathers and does not reach the body of the bird.

Benefits of birds

Birds play an essential role in maintaining the ecological balance. Some birds feed on insects, such as the Cattle egrets bird, which works to clean the soil which make the agricultural plants free from parasites and harmful insects, in addition to aerating the agricultural soil, and this helps in improving agricultural production.
Birds are an important source of white meat, and bird meat is more beneficial than the meat of other animals such as cows, buffaloes, and sheep, and therefore it is preferred by most people.
Bird meat is an important source of proteins that we need for the growth of the body and strengthening the immune system. Bird meat is also characterized by its delicious taste.
Pillows are made from the feathers of some birds, and for example, ostrich feathers, from which comfortable pillows are made, and therefore they are sold at very high prices.
Birds carry pollen from one tree to another, and this helps trees pollinate naturally without human intervention. This helps to increase the production of fruits such as fruits and others.

The economic importance of birds

We cannot neglect to talk about the economic value of birds. We will mention the importance of expanding bird breeding in the essay on birds, especially poultry farms, which have become widespread in all countries of the world. Poultry farming has become an important industry with high economic value.

Man has been able to develop this vital industry, so that it produces the largest quantity of poultry, in order to meet human needs. There are modern ways to raise poultry, as it provides medical care for poultry, as well as the quality of food, setting the appropriate temperature inside farms and other things that help achieve good profits from poultry farming.

At the end of the essay on birds, interesting information about the life of birds, miraculous qualities that distinguish some birds, and the economic importance of birds have been presented.

It is important to realize that birds are social beings, and they have feelings like us, and they express their feelings by issuing certain sounds, and they grieve at the death of one of the spouses, so that they also become depressed and may die of grief.

Therefore, we must treat birds gently, and provide them with the necessary health care, and you can seek the help of a veterinarian to learn how to properly raise birds.

I hope you benefited from the essay on birds, and I would love to receive your comments.

To read more, click on the following link:

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Essay on Birds for Students, 500 Words Essay

Essay on Birds: Birds are a diverse group of feathered, warm-blooded, egg-laying, and vertebrate animals. They are found all over the world and can be found in a wide range of habitats, from deserts to rainforests, and from the Arctic to the Antarctic. Birds are known for their ability to fly, which is made possible by their lightweight, hollow bones, and powerful muscles.

Essay on Birds

Introduction, types of birds and their characteristics, the role of birds in the ecosystem, threats to bird populations.

Birds have a wide range of physical characteristics, depending on the species. They come in many different shapes, sizes, and colours , and have a variety of beak and feather types. Birds also have specialized adaptations that help them to survive in different environments, such as webbed feet for swimming and talons for hunting.

Birds play an important role in the ecosystem. They are important pollinators, seed dispersers, and pest controllers. They also play a role in the food chain, serving as both predators and prey. Many bird species are migratory, travelling long distances between breeding and wintering grounds.

Birds are facing many threats, including habitat loss, pollution, climate change, and hunting. These threats have led to a decline in bird populations and many species are now considered endangered. Conservation efforts are being made to protect bird populations, such as habitat restoration and protected areas, but more work is needed to ensure their survival.

Sparrows are small, brown birds with short beaks.
Eagles have large, powerful bodies and sharp talons for hunting.
Pigeons are plump, gray birds that are often found in cities.
Hawks have sharp beaks and talons and are strong flyers.
Parrots are brightly coloured birds with curved beaks, they are known for their ability to mimic human speech.
Robins have red breasts and are known for their cheerful, melodic songs.
Peacocks are large, colourful birds with long tails and are known for their distinctive calls.
Ostrich is the largest bird in the world with long legs and necks, they can run at high speeds and cannot fly.
Swans are large, graceful birds with long necks and pure white feathers.
Hummingbirds are tiny birds known for their rapid wing beats and ability to hover in mid-air while feeding on nectar.

Description of different bird families and their unique characteristics

Sparrows belong to the family Passeridae and are known for their small size, brown plumage, and short beaks. They are found in a wide range of habitats around the world and are known for their adaptability.
Eagles belong to the family Accipitridae and are known for their large, powerful bodies and sharp talons. They are found on every continent except Antarctica and are known for their hunting and scavenging abilities.
Pigeons and doves belong to the family Columbidae and are known for their plump, gray bodies and short beaks. They are found on every continent and are known for their ability to thrive in urban environments.
Hawks belong to the family Accipitridae and are known for their sharp beaks and talons, and strong flying abilities. They are found in a wide range of habitats around the world and are known for their hunting and scavenging abilities.
Parrots belong to the family Psittacidae and are known for their brightly coloured plumage and curved beaks. They are found in tropical and subtropical regions around the world and are known for their intelligence and ability to mimic human speech.
Robins belong to the family Turdidae and are known for their red breasts and cheerful, melodic songs. They are found in wooded areas and suburban gardens in North America and Europe.
Peacocks belong to the family Phasianidae and are known for their large size, colourful plumage, and long tails. They are found in Asia and are known for their distinctive calls.
Ostriches belong to the family Struthionidae and are the largest bird in the world. They have long legs and necks and can run at high speeds. They are found in Africa and are known for their flightless nature.
Swans belong to the family Anatidae and are known for their large size, graceful movements, and pure white feathers. They are found in a wide range of freshwater and coastal habitats around the world.
Hummingbirds belong to the family Trochilidae, they are known for their tiny size, rapid wing beats, and ability to hover in mid-air while feeding on nectar. They are found in the Americas and are known for their bright colours and high energy.

Birds play a vital role in the ecosystem. They are important pollinators, seed dispersers, and predators that help to control insect and rodent populations. They also provide food for other animals, including mammals, reptiles, and other birds. Some birds are also important indicators of ecosystem health, as changes in their populations or behaviour can signal problems with the environment.

Birds are also important for cultural and aesthetic reasons. They are enjoyed by people for their beauty, songs, and behaviour, and many people participate in birdwatching as a hobby. Birds are also important in many cultures and religions and have played a role in the mythology and folklore of many societies.

Birds also have an ecological role, for example, Some birds such as vultures, eagles, and condors are scavengers and help to clean up dead animal remains. Hawks, falcons, and owls are predators that help control rodent and insect populations. Woodpeckers, nuthatches, and other birds that feed on tree-dwelling insects help to control these pests and protect forest health. Many songbirds are important pollinators and help to fertilize plants by carrying pollen on their feathers as they move from flower to flower. Birds also play a role in seed dispersal, helping to spread the seeds of plants over large areas.

Birds play multiple roles in the ecosystem, such as:

Pollination: Many songbirds help fertilize plants by carrying pollen on their feathers as they move from flower to flower.
Seed Dispersal: They help to spread the seeds of plants over large areas, and thus play an important role in plant regeneration and forest health.
Pest Control: Hawks, falcons, and owls are predators that help control rodent and insect populations. Woodpeckers, nuthatches, and other birds that feed on tree-dwelling insects help to control these pests and protect forest health.
Scavenging: Some birds such as vultures, eagles, and condors are scavengers and help to clean up dead animal remains.

There are various threats to bird populations, some of the main ones include:

Habitat loss: The destruction, fragmentation, and degradation of natural habitats such as forests, wetlands, and grasslands is a major threat to bird populations. Many bird species are adapted to specific habitats and are unable to survive when these habitats are destroyed.
Climate change: Climate change is having a major impact on bird populations. Changes in temperature and precipitation patterns can affect the timing of migration, breeding, and food availability, making it difficult for birds to find the resources they need to survive.
Invasive species: Non-native plants and animals can outcompete native species for food and habitat, making it harder for native birds to survive. Invasive species can also introduce diseases that can harm native bird populations.
Pollution: Pollution in the form of pesticides, herbicides, and other chemicals can harm birds and their food sources, making it difficult for them to survive.
Overhunting and poaching: Illegal hunting and poaching can have a significant impact on bird populations, particularly in tropical regions where many species are hunted for their feathers, meat, or eggs.
Human disturbance: Some birds are also threatened by human disturbances such as light pollution, noise pollution and human encroachment, which can disrupt their breeding, migration and feeding.

Overall, these threats are interconnected, and conservation efforts must address multiple issues in order to be effective in protecting bird populations.

In conclusion, birds play a vital role in the ecosystem and are important for cultural, aesthetic and ecological reasons. However, bird populations are facing many threats such as habitat loss, climate change, invasive species, pollution, overhunting and poaching and human disturbance. These threats are interconnected and must be addressed in order to effectively protect bird populations and maintain the balance of the ecosystem. Conservation efforts such as habitat restoration, protection of breeding and migration sites, regulation of hunting and trapping, and reducing pollution and human disturbance are essential to preserving bird populations and the vital services they provide.

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Short Essay on Birds in English for Students and Children

Table of Contents

300-word essay on Bird

Birds are those living beings that can fly high in the sky. Birds have big feathers that help them to lift their bodies in the air. There are hundreds of types of birds on Earth and each of them is unique.

For example, the peacock has a magnificent tail made of beautiful feathers, the parrot is a bird that can learn to talk, crow is the smartest in bird kingdom, a hummingbird can sing, nightingale bird is also known for its melodious voice. Like this each bird is different in its abilities and looks.

They are a very important part of our ecosystem and the food chain. The carnivorous birds eat rodents, insects and even snakes, in this way they help in keeping check on their overpopulation. Birds also eat the corpses of other animals, by this, they help in keeping the nature clean of decaying matter.

The herbivorous birds which eat plants and animals both or the omnivorous birds which eat only plants and fruits, help to disperse seeds. This happens when the birds eat the whole fruit and leave back the seeds on the ground. These seeds grow into new plants. This helps the environment to spread beautifully.

Birds are beautiful and due to the greed of human beings, many birds are going extinct. Humans hunt exotic birds and cage them and even sell them. This is harmful to the environment and the bird’s kingdom.

Even man-made pesticides and pollution prove to be fatal to birds as bird’s breath the polluted air and eat the infected fruit. We need to protect birds and save the ecosystem from falling apart.

Questions on Birds

Why should we save birds.

The herbivorous birds which eat plants and animals both or the omnivorous birds which eat only plants and fruits, help to disperse seeds. They are a very important part of our ecosystem and the food chain.

How are birds important to the environment?

Birds disperse seeds. These seeds grow into new plants. This helps the environment to spread beautifully.

What are the characteristics of birds?

Short Essay on Eagle Bird [100, 200, 400 Words] With PDF

In this session, you will learn how you can write short essays on the Eagle Bird . There will be three different sets of essays on the same topic covering different word limits as recommended in various exams.

Feature image of Short Essay on Eagle Bird

Short Essay on in Eagle Bird 100 Words

Eagles are some of the largest birds in the world. ‘Eagle’ is a common term used for many large birds of prey who hunt sizable vertebrate prey. They belong to the family Accipitridae. There are around 60 species of eagles and most of these species are found in Europe, Asia and Africa. These include martial eagle, Philippine eagle, Eastern imperial eagle, harpy eagle and more.

Eagles have heavy heads, broad wings, hooked beaks and strong muscular legs. They have sharp eyes and can spot their prey from as far away as 5 kilometres. The females of most eagle species are larger than the males. Eagles prey on fish, water birds, snakes and any medium-sized vertebrates that they can find. They are the apex predators in the avian world.

Short Essay on in Eagle Bird 200 Words

Eagles are some of the largest raptors in the world. ‘Eagle’ is a common term used for many large birds of prey who are capable of hunting sizable vertebrate prey. They belong to the family Accipitridae. There are around 60 species of eagles and most of these species are found in Europe, Asia and Africa. A few can also be found in Australia, North America and South America. These include martial eagle, Philippine eagle, African fish eagle, crown eagle, crested eagle, Eastern imperial eagle, harpy eagle, golden eagle, bald eagle and more.

Eagles have heavy heads and beaks, broad wings and strong, muscular legs. They have a hooked beak which helps them tear the flesh of their prey. They have sharp eyes and their visual acuity is several times better than human beings. Eagles can fly very high and can spot their prey from as far away as 5 kilometres.

The females of most eagle species are larger than the males. They lay one to four eggs at a time. Eagles prey on fish, water birds, snakes and any medium-sized vertebrates that they can find. They can sometimes kill animals larger than themselves. A bald eagle is noted to have flown with a deer fawn. Eagles are the apex predators in the avian world.

Short Essay on in Eagle Bird 400 Words

Eagles are some of the largest birds of prey in the world. ‘Eagle’ is a common term used for many large raptors who are capable of hunting sizable vertebrate prey. They belong to the taxonomic family ‘Accipitridae’ and are spread across many groups of genera.

There are around 60 species of eagles and most of these species are found in Europe, Asia and Africa. A few can also be found in Australia, North America and South America. These include martial eagle, Philippine eagle, African fish eagle, crown eagle, crested eagle, Eastern imperial eagle, harpy eagle, golden eagle, bald eagle and more.

Eagles have heavy heads and beaks, broad wings, strong, muscular legs and powerful talons. They have a hooked beak which helps them tear the flesh of their prey. They have sharp eyes and their visual acuity is several times better than human beings. Eagles can fly very high and can spot their prey from as far away as 5 kilometres. Eagles prey on fish, water birds, snakes, goats, wild cats, foxes, deers and any other medium-sized vertebrates that they can find. They can sometimes kill animals larger than themselves. A bald eagle is noted to have flown with a mule deer fawn.

The females of most eagle species are larger than the males. They usually make their nests on high cliffs or in tall trees. Eagles can lay one to four eggs at a time. It is observed that the chick that hatches first, often kills its siblings. Eagles are not migratory birds and they prefer to spend their entire lives in the same place. Their average life span is 70 years. Eagles usually fly during storms. They glide with the wind which helps them save a lot of energy.

Eagles can be found almost all over the world and in different types of habitats. They can be found in the northern tundra, in rainforests as well as in deserts. They also have a lot of cultural significance. One can find the mention of eagles in Sumerian myths as their mythical king, Etana, was said to have been carried to heaven by an eagle.

The patron animal of the ancient Greek god Zeus is an eagle. In Hinduism, Garuda, the Vahana of Lord Vishnu, is depicted as an eagle. These birds are also mentioned in the old testament. Eagles are a common symbol used in heraldry as they are known as the king of birds.

Eagles are apex predators in the avian world.

In today’s session, I have tried to write the essays in a very simple language for a better and easier understanding of all kinds of students. If you still have any kind of confusion regarding this context, let me know through the comment section below. Keep browsing our website for more such sessions on various important topics.

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Book and Media Reviews

Essays on birds, conservation, and more by a prominent contemporary novelist, july 2, 2020.

A review by Robert O. Paxton

The End of the End of the Earth , by Jonathan Franzen

Farrar, Straus, and Giroux, 2018

240 pages, hardcover

ABA Sales–Buteo Books 15050

J onathan Franzen has published five novels, four works of non-fiction, and numerous short stories in The New Yorker and elsewhere. He won the National Book Award for Fiction for The Corrections (2001), which was also a finalist for a Pulitzer Prize in Fiction. After the publication of Freedom (2010), his face appeared on the cover of Time magazine as a “Great American Novelist.” Franzen has become a highly visible and somewhat curmudgeonly presence on television talk shows like The Oprah Winfrey Show. This high-octane day job has not prevented Franzen from being a birder very much like the rest of us, the “real, avid, smitten thing,” as he puts it in these essays. “Seeing new bird species was the only activity that I could absolutely count on not to bore me,” he wrote in the title essay of an earlier essay collection, Farther Away .

A successful novelist may be no better than the rest of us at finding and identifying birds, but we can expect him to write about these activities better than the rest of us. In “Missing,” a wry travel yarn, Franzen sets out to find all the endemics on Jamaica and Saint Lucia, and doesn’t quite make it. His efforts will sound familiar to anyone who has visited difficult countries, experienced jubilation and dejection as life birds are found or missed, and coped with pre-dawn awakenings, rainfall, dodgy local guides, and rapidly expiring time.

Franzen admits “to my shame [at being] what people in the world of birding call a lister.” He seeks birds “to experience their beauty and diversity, learn more about their behavior and the ecosystems they belong to, and take long, attentive walks in new places. But I also keep way too many lists.” He defends listing as a device for setting goals. “It is a way of energizing yourself for an experience that often entails unpleasantness.” He doesn’t reveal any of his numbers in these essays, but in an interview with Jason Ward in July 2019 he claimed a world life list of about 4,600.

Nor does he explain in these essays how he came to birding. Somewhat atypically, Franzen began late, at around forty, in 1999. In a 2013 interview in National Geographic , he mentioned examining a flicker closely in the days following his mother’s death, and of becoming aware of the nuances in the plumage of a towhee in a girlfriend’s yard. But it was the spectacle of spring migration in New York City’s Central Park that set off a true passion.

Like most of us, Franzen finds it hard to say exactly why birds give him an emotional charge. In the essay “Farther Away," from his previous essay collection, when his friend the novelist David Foster Wallace reacts to a telescope view of a Long-billed Curlew with a dismissive “Yeah, it’s pretty,” Franzen knows that no spark has passed. His various explanations of the fascination of birds—the extraordinary diversity of bird plumages and behaviors, birds’ role as our best contact with nature in “a world now largely overrun by human beings and still beautifully indifferent to us,” the ability to escape one’s own shortcomings in the “radical otherness of birds”—come across as rationalizations after the fact. In the last analysis, the “enduringly transcendent delight” of seeing a rare bird, as he puts it in “Farther Away,” has no justification other than itself.

Jonathan Franzen is too thoughtful a birder just to love them, list them, and leave them, however. Some of the most effective, if painful, essays in this book concern the destruction of bird life and the urgency of conservation. As an eyewitness to an “epic extinction event,” Franzen wants to engage public opinion. “May Your Life Be Ruined” describes the sickening and indiscriminate netting and shooting of migrant birds in some Mediterranean countries like Egypt, Italy, and Albania. In these countries young men are initiated into adult male society by killing every migrant bird they can. A similar essay appeared as “The Ugly Mediterranean” in Farther Away .

Another compelling essay, “Invisible Losses,” explores the decline of seabird populations by 70% in the last sixty years, a larger percentage of loss than for any other comparable group. Yet this catastrophe remains almost unknown, Franzen laments, because these species breed unobserved on remote islands. Both of the main offshore fishing techniques—trawling and long lines—are major culprits. Trawling entraps feeding seabirds in nets, while long lines attract them to baited hooks and then drag them under. New techniques make it possible to reduce the by-catch of birds from both of these fishing techniques, and the South African government has successfully adopted them. But the situation remains “atrocious” as other countries like Taiwan and China continue to use harmful industrial fishing techniques without any effort at mitigation.

The leading threat to seabirds is introduced predators—such as rats, mice, and cats—on the breeding islands. Having evolved without terrestrial predators, seabirds are utterly incapable of protecting their eggs and young from these aggressive carnivores. This subject provides another round of painful though necessary reading. The way mice kill albatross chicks much larger than themselves will keep you awake. Achievable solutions exist for the introduced predator problem, but they require long and costly extermination efforts. A particularly ambitious program of rodent eradication has been applied to the major bird breeding island of South Georgia, in the South Atlantic. Others are planned for islands off South Africa and California. Much of this information was new to this reviewer, and probably will also be new to most landlubber birders. It should not be missed.

A birding novelist is as likely to observe the observers as well as the birds. Sometimes Franzen scrutinizes himself, uncharitably, as an “angry bird-loving misfit who thinks he is smarter than the crowd.” He recalls himself as a young man “under the spell of my elite college education” envisioning “overthrowing the capitalist political economy in the near future through the application of literary theory.”

Franzen has strong opinions and no hesitation about voicing them. Ecotourism, he thinks, may be the best way around the economic pressures that destroy bird habitat. But he is unable to summon much affection for the ecotourists, “Americans who live far from the ecological damage that their consumption habits cause.” Or for the African parks where “tourists, most of them white, all of them affluent,” can “experience” an “Africa” that is actually a simulacrum maintained by their money, carefully screened from the “overgrazed, overpopulated trash-strewn countrysides” that lie just outside.

Though he has no doubt about the reality of climate change and the centrality of human activity among its causes, he prefers local mud-on-the-boots conservation projects that safeguard specific habitats and species to vast planetary projects, such as to trying to reduce the emission of greenhouse gases. He fears that climate change is already a done deal, and that concentrating upon it, as he accuses the National Audubon Society of doing, deflects effort from more immediately urgent local actions. “Not one single bird death could be directly attributed to human carbon emissions.” Instead, “the most serious threats to American birds [are] habitat loss and cats.”

The National Audubon Society, Franzen asserts, “once an uncompromising defender of birds, is now a lethargic institution with a very large PR department.” This reviewer won’t disagree, having watched with dismay as National Audubon tried to kill the magazine American Birds , not simply by stopping its publication but also by arbitrarily retaining copyright to its name. The need to give a slightly clumsier new name, North American Birds, to this valuable guide to changing bird numbers and distribution burdened the American Birding Association’s laudable revival of it.

Climate change may indeed impact entire species of birds more directly than Franzen admits. Consider the Bicknell’s Thrush, whose habitat in the U. S., limited to mountaintops in New York and New England, is being squeezed upward as average temperatures rise. These birds may simply run out of space as they try to move upslope. Franzen’s own account of visiting Antarctica—subject of the title essay, “The End of the End of the Earth”—warns of a mammoth climate-change crisis in this “last substantially intact marine ecosystem” as rising seawater temperatures upset the entire biological association based on krill.

In the essay “Save What You Love,” Franzen advocates conservation projects that offer immediate help. They address specific habitats on a scale large enough to involve a full complement of species. They involve the local human inhabitants, who find work and see improvement in their lives. They are not simply entertainment for wealthy American birding tourists. The “most audacious and successful conservation project” Franzen knows is the habitat reconstruction activity of Dr. Daniel Janzen, of the University of Pennsylvania, in the Guanacaste province of Costa Rica’s Pacific slope. Over many years Dr. Janzen has painstakingly nurtured new tropical forest in exhausted pastureland, a delicate task that got results sooner than he expected.

It is the nature of collections of essays to range across varied subjects. Many essays in The End of the End of the Earth are not about birds. There are personal reminiscences and reflections on the American novelists Edith Wharton and David Foster Wallace, the photographer Sarah Stolfa, and even an essay on the essay form.

Franzen’s birding life intersects with his literary life only occasionally. Just one novel, Freedom , involves birding. A plan to create a Cerulean Warbler reserve figures in the plot, and a Cerulean Warbler appears on the cover. Also Rule #7 among the “Ten Rules for the Novelist” published in this volume, sounds more useful for birders than for novelists: “You see more sitting still than chasing after.”

Some of Franzen’s most interesting birding essays do not appear in this collection. An account of birding in China, originally published as “The Chinese Puffin” in The New Yorker in April 2008, is reprinted in Farther Away. Yes, there are birders in China, as we know from the March–April 2006 and July–August 2013 issues of Birding. Franzen’s birding adventures in China leave one wondering whether to laugh or cry, and reveal a lot about that country’s breakneck transformation. The title essay in Farther Away recounts Franzen’s harrowing solo expedition to the island of Masafuera, far off Chile, and his failure to see the Masafuera Rayadito, related to, of all things, the forest-loving woodcreepers and antbirds. His struggle to find the bird—and, indeed, to survive—is incidental to this article’s main concerns with solitude and the capacity to accept falling short.

It’s too bad that Franzen’s birding essays haven’t been gathered in a single volume. They are fresh, unsentimental, by turns passionate or funny, opinionated (a word he uses about himself), and strongly personal. There is not a dull line in them.

Robert O. Paxton began birding at nine. Bob has served as regional editor for North American Birds magazine and its predecessors since 1963, first in California and since 1975 in New York. As Professor of History at Columbia University in New York, his scholarly work focused on Vichy France and fascism in Europe.

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How To Write An Essay On Parrots for Children

Key Points to Remember When Writing About Parrots for Lower Primary Classes

Body appearance and behaviour aspects of a parrot, 10 lines on parrots in english for kids, a paragraph on parrots, short essay on parrot in english for kids, long essay on “my favourite bird: parrot” for children, interesting facts about parrot for children, what will your child learn from this essay on parrots.

Parrots are unique and fascinating birds. Besides being extremely attractive, they are also pretty intelligent and have other special characteristics. When your child writes an essay on parrots in English, their thought process will improve. Essay writing is an important activity that helps develop your child’s verbal skills. The earlier they are introduced to writing essays, the better it is. It lays the foundation of English grammar. Writing essays also improves your child’s creative writing skills. When children pen down their thoughts on paper in short and simple sentences, it gives a proper structure to their ideas. Essay on parrots for classes 1, 2 and 3 will also improve your little one’s vocabulary.

There are some important points that your child needs to remember while writing essays. Let us learn how to write an essay on a parrot:

In the first step, let your child form the ideas they want to write on the topic.
In the second step, let your child jot down the ideas on paper and create an outline. This will ensure they cover all the points while writing the essay.
In the next step, help your child form simple, short, readable sentences from the outline.
Ask your child not to focus too deeply on any single idea, and maintain the word count.
Direct them to write with the flow, making them enjoy writing the composition.
Your child can mention how parrots look, their food habits, uniqueness, etc.

Parrots are attractive birds that come in different sizes. Their body is cute and chunky, and their wings are long and rounded. They have curved beaks. Parrots can be spotted in different colours like green, yellow, red, and rainbow-coloured. Some parrots have black circles around their necks, called rings. Parrots are found all across the world. They are playful and intelligent birds. They can imitate humans when they hear the same words repeatedly. Parrots eat nuts, fruits, berries, grains, insects, etc. They are the only birds that are able to hold up food to their mouth with their feet and eat, very similar to humans. They are so skilled with their claws that they can peel off a grain, remove it, and eat the kernel. Parrots are one of the most magnificent birds in the world.

Parrots are colourful birds that are quite intelligent and friendly. Let us help your little child write a beautiful essay for classes 1 and 2. Your little one can read through this sample essay to get ideas:

Parrots are marvellous birds.
They are very intelligent.
They are playful.
Parrots are sociable and enjoy being surrounded by company.
Parrots like to live in warm climates and are found worldwide.
Parrots have curved beaks.
These birds are of different colours like green, yellow, red, blue, and rainbow-coloured.
Parrots in India are usually green in colour with attractive red beaks.
Parrots eat small grains, nuts, seeds, fruits and insects.
Parrots have a unique talent for mimicking human voices that they hear repeatedly.

Parrots are colourful, attractive birds. They are playful, highly friendly, and pretty intelligent. Parrots have a unique ability to imitate humans when they hear the same words repeatedly. They have bright coloured feathers. The parrots found in India are usually green in colour with red beaks. Many of them have a black ring around their neck. Parrots can also be yellow, red, and rainbow-coloured. The birds have curved beaks that make them experts at cracking nuts and peeling the skin off fruits and grains. They also have unique feet, using which they can hold food and eat. The bird is fascinating in many ways.

Parrots are marvellous birds that are extremely attractive. Children love them for their playful nature. Let us help your kid write an essay in 150 words on these gorgeous birds:

Parrots are colourful and playful birds. They are very sociable in nature. They are also extremely intelligent. Parrots have a unique ability to learn and imitate human speech when they hear certain words repeatedly. They have bright coloured feathers that make them look so magnificent. The parrots found in India are usually green in colour with stunning red beaks. Many parrots have a black ring around their neck. Some parrots are yellow, red, and rainbow-coloured. The birds have curved beaks that are pointed at the edge. It lets them pick small grains and nuts to eat. They are experts at cracking nuts and peeling fruits and grains. Parrots are exceptional birds in many ways.

Parrots are magnificent birds that have unique characteristics. Let us help your kid of class 3 write an essay on these gorgeous birds.

Parrots are colourful and playful birds that are very intelligent. Different species of parrots are found all over the world. They are very friendly and have a unique ability to imitate human speech when they hear certain words repeatedly. The parrots found in India are mostly green in colour. Some of them have a black ring around the neck. There are also yellow, red, blue, and rainbow-coloured parrots. Parrots have a curved beak pointed at the edge. It helps them crack open nuts to eat. They also have the ability to peel off the husk of a kernel to eat grains.

Parrots have a unique ability to hold up food with their claws and bring it up to their mouth to eat it, much like humans. They are omnivorous birds, which means they eat plants as well as meat. Their food consists of nuts, seeds, fruits, small grains, leaves, and insects. Parrots lay 2 to 8 eight eggs. Their eggs usually hatch between 24 and 28 days. Baby parrots take 1 to 4 years to grow into adults, depending upon their species. When trained, parrots can do activities that entertain humans.

Some people hold parrots captive to train them for entertaining acts and shows to gain money and popularity. This is a cruel act, as the poor birds do not stay happy when they are held captive. No bird or animal should be caged as it takes a toll on their mental health. Everyone has the right to be free.

Let us discuss some facts about parrots that children will find interesting.

Parrots are one of the most intelligent birds out there.
Parrots are the only ones among all birds that can eat by holding up food to their mouth with their foot, much like humans.
Parrot feathers contain anti-bacterial pigments.
Parrots have a long lifespan.
Though their lifespan varies according to species, some large-sized parrots can live longer than humans.

Writing an essay on parrots will make your child see the birds more closely. They will learn about the unique characteristics of these birds. When your child writes a paragraph, their grammar improves with creative writing skills. Essay writing also improves their vocabulary.

We hope the above sample essays help your child write an interesting composition on parrots. Writing an essay is an important activity that helps develop your child’s language skills. The earlier they are introduced to essay writing, the better it is. It will be helpful for your child in future. We have made sure to keep the language of the essay simple so that it’s easy for your little one.

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Paragraph Writing
Paragraph On If I Were A Bird

Paragraph on If I Were a Bird - Check Samples for Various Word Limits

We all go through this phase of life where we want to stay away from the hustle and bustle of life. We wish to relax and breathe fresh air. We would like to sit calmly, listen to some good music and enjoy the rain. If we take some time gazing at the sky and observing the birds, we would wish we could live like the birds, at least for a while. Won’t we?

If you were asked to write a paragraph on what you would do if you were a bird, what would you write? Take some time to think about it. Meanwhile, go through the sample paragraphs on ‘If I were a bird’ given in the article for reference.

Paragraph on if i were a bird in 100 words, paragraph on if i were a bird in 150 words, paragraph on if i were a bird in 200 words, paragraph on if i were a bird in 250 words, frequently asked questions on birds.

We all want to be free. We wish to be free of all limitations and constraints in life. Looking at the birds, I believe, is the best way to understand freedom. If I were a bird, I would like to dwell in the woods and be hidden from humans. I would reach for the beautiful sky and soar as high as I could. I have always wondered about sleeping on the clouds some day, though I know it is not humanly possible. So, if I got to be a bird, even for a day, I would fly into the clouds and snooze there for a while. I would fly across the sky, enjoy the evening colours and return to my nest by night.

We all want to be free from all the restrictions of our lives. At some point or the other, we all want to stay away from all materialistic things and live peacefully. Being humans, we are bound to behave as per society and maintain a social life. We have some social constraints and are bound to follow them, but birds are free. Birds are the best example of understanding freedom. That is why the dove is the symbol of freedom. If I were a bird, I would love to fly high in the bright sky till sunset and see the sun drowning in the sea. I would love to jump and touch the sea and catch fish from the rivers. I would hide from the prying eyes and eat fruits from various trees. I would love to fly with my flock and take a nap in the trees.

We all wish to be free of life’s constraints. We all aspire to be free of all materialistic goods and live in peace at some time in our lives. As humans, we are obligated to conform to social norms and maintain a social life. We are controlled by social constraints and must adhere to them, whereas birds are not. Birds are the best example of how freedom can be explained. Therefore, the dove is seen as a symbol of liberty. It is the true freedom of a bird to fly around the sky and live its own life. When I think what it would be like if I get to be a bird, I think I would fly high in the beautiful sky till the sun sets, then watch the sun sink into the sea. I would like to jump into the sea and catch fish in the river. I would like to eat from various trees. I will fly as high as possible and take a nap in the clouds. I would fly back to my home with my group during the sunset and admire the night sky.

We all want to be as free as a bird. We might earn lakhs of money, but at some point in our lives, we all crave peace and serenity. Being humans, we all are bound by some societal constraints. It is like taming a bird and keeping it inside a cage. Birds love to fly, collect their own food and grains, sleep in the woods, and enjoy sunsets. They are the best way to understand what freedom feels like. If I ever get to be a bird, I shall not be dependent on anyone for my food and living. I would collect the twigs and build a small nest for myself and live peacefully inside that. I would build my nest at a great height to keep myself and my family safe. I shall gather my own food and enjoy them with my friends. I would love to fly under the bright sky and wait until the sun sinks into the sea. I would love to jump into the sea and play with the high waves. Just like the proverb, ‘Birds of a feather flock together’, I would fly along with my flock far and wide. I would enjoy every single moment I spend amidst the fluffy clouds.

What would I do if I were a bird?

If I were a bird, I would love to fly high in the beautiful sky, enjoy the rain, enjoy the beauty of nature closely and embrace it inside my wings.

What would you do if you could fly like a bird?

If I could fly like a bird, I would travel around the Earth and stay away from the materialistic world.

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When your soulmate’s a classmate

Isabella Madrigal '24 is a Native American student (Cahuilla Band of Indians / Turtle Mountain Chippewa).

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A fresh take on must-see TV

Isabella Madrigal has a vision: storytelling that’s compelling, inspires better, more equitable world

Eileen O’Grady

Harvard Staff Writer

Part of the Commencement 2024 series

A collection of stories covering Harvard University’s 373rd Commencement.

A family sits around a fire pit in their backyard on the Cahuilla reservation in Southern California in a scene from “Menil and Her Heart,” Isabella Madrigal’s thesis screenplay.

“Do you know who gave the arts to the Cahuilla people?” the father asks his two daughters. Menil, the youngest, says no, and the father tells the story of her namesake, Menil, the moon maiden, who “painted the world into being.”

Weaving together old family traditions of oral storytelling with modern mediums like screenwriting and acting is a skill Madrigal ’24, an English concentrator with a psychology secondary, has honed for many years.

The Adams House resident from Temecula, California, is an enrolled member of the Cahuilla Band of Indians, and of Anishinaabe, Turtle Mountain Ojibwe descent. An emerging screenwriter and actress, Madrigal has appeared in Marvel’s “Echo” (2024) TV miniseries and the show “Rutherford Falls” (2021-2022) and wants to increase Native representation onscreen and amplify overlooked voices and narratives.

“If you only have a very limited idea of who you can be — what previous media has shown — that impacts artistic creation and how you show up in the world,” Madrigal said.

It’s a different direction from where she started at Harvard. Madrigal had begun on a pre-med track, but the absence of an artistic outlet left a void. Her decision to shift her focus to arts and humanities ended up “really changing my Harvard experience,” she said.

“This idea of community- building and community-healing was always something I knew I wanted to do,” Madrigal said. “I saw an opportunity for that in medicine, but being at Harvard I’ve been able to see there are so many ways that you can engage in that kind of work.”

“I feel very different than when I came into Harvard. I have a better understanding of what I want to do and what values I have in a career space.”

Her favorite classes included “ Indigenous Sci Fi, Horror, Fantasy, and Futurisms ,” with Associate Professor of English Christopher Pexa , and “The Essay Film” with Assistant Professor Sky Hopinka in the Art, Film, and Visual Studies Department . While an undergraduate, Madrigal has participated in the Harvard-Radcliffe Dramatic Club and Natives at Harvard College .

“As one of the vice presidents of Natives at Harvard College, Isabella is a leader in our community,” said Jordan Clark, assistant director of the Harvard University Native American Program. “Creating space for new students to find community, providing programming, and always showing up to support other students when they need it — she plays an important role as a mentor and role model.”

Madrigal’s senior thesis screenplay, a genre-bending family drama full of magical realism, centers the issues of missing and murdered Indigenous women and girls, and two-spirit people.

When teenage Menil suddenly goes missing, her devastated family is met with indifference from local law enforcement. Older sister Nesune travels to a parallel universe to search for her, and there she discovers all the Cahuilla stories from her memory are real.

For Madrigal, who has been developing the story since age 16, the screenplay is a way to raise awareness about a crisis. The National Crime Information Center noted 5,712 reports of missing Native women and girls in 2016, and a 2018 report by the Urban Indian Health Institute identified 506 missing and murder cases across 71 U.S. cities. Abigail Echo-Hawk, the report’s co-author, was one of Madrigal’s mentors during the project.

“Theater has an incredible capacity to engage audience members and actors with social issues, inspire hope, and incite change,” said Madrigal, who hopes to one day see the screenplay become a feature film.

Madrigal staged an early play version of “Menil and Her Heart” in high school, starring her sister Sophia Madrigal ’26 and their father, Luke Madrigal.

Luke, who was instrumental in preserving the tradition of Cahuilla bird singing, passed away four months before Isabella started at Harvard. For the oldest daughter, much of her work is about honoring his legacy.

“Some of the strongest memories I have are doing that [play] together,” Madrigal said. “This project feels like it’s so wrapped up in him, which is why I see it continuing with me for so long.”

Madrigal got experience with Native-directed projects through roles in the small-town sitcom “Rutherford Falls,” filmed during sophomore winter recess, and in “Echo” the summer before her junior year. In “Echo” she played a younger version of the superhero’s grandmother Chula (Tantoo Cardinal) in a flashback scene of a dramatic birth.

“It was top secret. I didn’t have the script until a couple days before,” Madrigal recalled. “I’ve never given birth! I was asking everybody — my mom, my aunts — if they could share any tips.”

Madrigal said she has been thrilled to see more Native projects in recent years.

“Without that surge, which was decades in the making by native creators, I wouldn’t have been able to have these roles,” Madrigal said. “Native script writers and directors open up opportunities for so many more people.”

An essential part of filmmaking, Madrigal said, is working with communities to tell their stories in a responsible way, a skill she cultivated in the Harvard class “ Get Real: The Art of Community-Based Film,” with associate senior lecturer on screenwriting Musa Syeed , who was also Madrigal’s thesis adviser.

“Part of the responsibility of telling that story requires conversations with culture bearers, with elders,” Madrigal said. “For me, that looked like talking through the story with people, sharing intention.”

After Commencement, Madrigal plans to shoot “Menil and Her Heart” as a short with the help of a Culture Bearer grant she was awarded by the Center for Cultural Power and the California Arts Council .

“I feel very different than when I came into Harvard,” Madrigal said. “I have a better understanding of what I want to do and what values I have in a career space. I thought an ‘artist’ was somebody who had to fit into one box. Seeing that you can do so many different things as an interdisciplinary artist has been amazing to discover.”

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What is the difference between a solar eclipse and a lunar eclipse?

It almost time! Millions of Americans across the country Monday are preparing to witness the once-in-a-lifetime total solar eclipse as it passes over portions of Mexico, the United States and Canada.

It's a sight to behold and people have now long been eagerly awaiting what will be their only chance until 2044 to witness totality, whereby the moon will completely block the sun's disc, ushering in uncharacteristic darkness.

That being said, many are curious on what makes the solar eclipse special and how is it different from a lunar eclipse.

The total solar eclipse is today: Get the latest forecast and everything you need to know

What is an eclipse?

An eclipse occurs when any celestial object like a moon or a planet passes between two other bodies, obscuring the view of objects like the sun, according to NASA .

What is a solar eclipse?

A total solar eclipse occurs when the moon comes in between the Earth and the sun, blocking its light from reaching our planet, leading to a period of darkness lasting several minutes. The resulting "totality," whereby observers can see the outermost layer of the sun's atmosphere, known as the corona, presents a spectacular sight for viewers and confuses animals – causing nocturnal creatures to stir and bird and insects to fall silent.

Partial eclipses, when some part of the sun remains visible, are the most common, making total eclipses a rare sight.

What is a lunar eclipse?

A total lunar eclipse occurs when the moon and the sun are on exact opposite sides of Earth. When this happens, Earth blocks the sunlight that normally reaches the moon. Instead of that sunlight hitting the moon’s surface, Earth's shadow falls on it.

Lunar eclipses are often also referred to the "blood moon" because when the Earth's shadow covers the moon, it often produces a red color. The coloration happens because a bit of reddish sunlight still reaches the moon's surface, even though it's in Earth's shadow.

Difference between lunar eclipse and solar eclipse

The major difference between the two eclipses is in the positioning of the sun, the moon and the Earth and the longevity of the phenomenon, according to NASA.

A lunar eclipse can last for a few hours, while a solar eclipse lasts only a few minutes. Solar eclipses also rarely occur, while lunar eclipses are comparatively more frequent. While at least two partial lunar eclipses happen every year, total lunar eclipses are still rare, says NASA.

Another major difference between the two is that for lunar eclipses, no special glasses or gizmos are needed to view the spectacle and one can directly stare at the moon. However, for solar eclipses, it is pertinent to wear proper viewing glasses and take the necessary safety precautions because the powerful rays of the sun can burn and damage your retinas.

Contributing: Eric Lagatta, Doyle Rice, USA TODAY

I planned on confronting my absent father about his parenting. But when I asked to hear his side, I learned a powerful lesson.

My father was absent throughout most of my life, so I went to Ghana to confront him about it.
In Ghana, I learned about my father's past and understood his perspective for the first time.
Although we will never be close, the conversation healed our relationship and taught me empathy.

A few years ago, I visited my father in Ghana and asked to hear his story about why he was an absent parent . This conversation helped me heal, forgive, and transform how I view disagreements today.

At the time, I had a lot of built-up resentment and anger toward my dad. In my mind, he stopped making a meaningful effort to see me or show up for me after he remarried. He and his new family lived in Kenya, Ethiopia, and Finland — while my mom, my brother, and I initially struggled with being unhoused and being on welfare here in the US.

I dealt with a lot of feelings of rejection , which I'd reflected on and worked through in therapy during my 20s. But in my 30s, it all came back, and I needed to deal with it head-on.

I decided to meet with my father to talk things through

There were times when I'd be driving, and I'd find myself weeping, questioning what I'd done to cause him not to fight for me. It was clear his rejection of me was still affecting the way I move about the world.

During a leadership training program, my cohort and I discussed our origins. I shared with the cohort that I had an upcoming trip to Ghana, and I had plans to confront my father.

Politely, a cohort member raised their hand. "Hey, what would it look like if you took a different approach?" he asked. "We all have empathy for each other because we know each other's stories."

I felt my heart rate quicken and my jaw clench in defensiveness. Despite my defensiveness, his words planted a seed that I brought up with my therapist. Together, my therapist and I started preparing for how I would turn my "confrontation" into a "conversation" with my father.

I also asked my father to share his experiences growing up

My father grew up in Ghana, and his own father was only a kid at the time. My father also left his entire family for boarding school at 14 years old, and at 16, he left Ghana to come to the US.

Hearing this story, a lump formed in my throat as I felt — for the first time — empathy for my dad. I wonder how he felt as a little boy.

Fully immersing myself in my dad's story wasn't easy. It was challenging to remove my biased perspective of anger and distrust. I pushed myself to engage from a place of curiosity and ask him questions as if I was a student.

Hearing my dad's story helped me understand

At the end of our conversation, I told my father I disagreed with his approach but understood how he arrived at his conclusion. We hugged, and my father told me he was proud of me, which I never heard growing up.

This conversation did not transform us into a father-son duo holding hands and walking into the sunset. My dad's decision not to fight for a place in my life robbed both of us of father-son experiences that we can never get back.

However, this conversation gave me access to my heritage, Ghana, which I'd previously avoided. This allowed me to get involved in social entrepreneurial projects, like working with an elementary school and hiring and training Ghanaian staff members.

It also gave me access to an incredible mentor, my father . Previously, I avoided my dad. Now, I actively seek him out, particularly when I need feedback on a project.

Perhaps most importantly, this conversation taught me a profound lesson I now apply to every area of my life. I learned that when we do not seek to understand and respect the person we disagree with, it only hurts us.

That day, if I had chosen to confront my father from a place of vitriol and anger, his rejection would still haunt me, and I would have never learned the powerful lesson that every person has a story that shapes who they are today.

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When These Two First Worked Together

Marc Jacobs and Cindy Sherman.

Love, spats, splits and enduring affinity: creative partnerships that have stood the test of time.

Interviews by Ella Riley-Adams, Nick Haramis, Nicole Acheampong, Julia Halperin and Coco Romack

Begin Again

Jordi Roca.

Video by Anna Bosch Miralpeix

What it’s like to make new art after many years or amid new challenges — or to change careers completely.

Interviews by Michael Snyder, M.H. Miller and Emily Lordi

When the Beginning Is Also the End

Miguel Adrover.

Catarina Osório de Castro

People who found great creative success in one field — before life took them in a totally different direction.

By John Wogan and M.H. Miller

J u v e n i l i a

Do Ho Suh’s “Tiger Mask” (1971).

Courtesy of the artist © Do Ho Suh

What artists see when they look back at work they made in their youth.

Interviews by Julia Halperin, Kate Guadagnino and Juan A. Ramírez

A first album, a first restaurant, a first time on Broadway: Ten debuts happening right now.

Interviews by Juan A. Ramírez and Emily Lordi

How It Begins

Jenny Holzer.

Photographs by Nicholas Calcott

The very first steps, whether you’re an actor getting into character or an artist presenting the survey of your life’s work.

Interviews by Laura May Todd

The Beginners’ Hall of Fame

A floral painting against a purple background.

Tabboo!’s “Lavender Garden” (2023).

Courtesy of the artist and Karma

Six people who found a new creative calling later in life — or for whom recognition was long overdue.

By Jason Chen

Advice on Beginning

Kim Gordon.

Laura Levine/Corbis, via Getty Images

Ten creative minds on how to start, pivot and productively procrastinate.

Interviews by Kate Guadagnino

Courtesy of Joseph Dirand Architecture

We asked 80 artists and other creative people to tell us what they’re starting right now or hope to start very soon.

T’s Culture Issue: Beginners.

An exploration of artistic beginnings in all their forms.

There’s a reason all of us — magazine editors in particular, perhaps, but not only us — love an artistic debut. It’s not just that those releasing their first album, book or movie, or having their first gallery exhibit or Broadway show, are usually young; it’s that they embody that most delicious and evanescent of qualities: promise. Any painter could be the next Rothko or Basquiat; any singer could be the next Joni or Aretha. There the new artist sits, poised between our expectations and their unwritten reality. Becoming emotionally invested in an untested creative life is like becoming financially invested in an exciting new company — should they (or it) work, the reward is not just theirs but ours. “See?” we tell ourselves. “We knew it all along.”

But the real test of being an artist isn’t the first album, book, movie or Broadway show, as significant as those accomplishments are. It’s what happens after. All artists know that living a true creative life means facing an endless series of beginnings: It’s starting over after setbacks; it’s pushing forward through doubt and despair; it’s trying again when someone tells you no; it’s slogging ahead when no one seems to like or care about what you make; it’s ignoring the voice inside you that tells you to stop; it’s striving and failing, again and again and again. There is no point of complete security, no award or recognition that bestows total confidence — a life in art means that, to some degree, you’re starting anew every day. As the novelist Andrew Holleran tells T, “Writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it.”

On the covers, clockwise from top left: ICE SPICE wears a Burberry dress, $2,290, burberry.com ; Graff necklace, price on request, graff.com ; and her own earrings and ring. Photographed by Shikeith. Styled by Ian Bradley. Makeup by Karina Milan at the Wall Group. SKY LAKOTA-LYNCH wears a Canali coat, $3,060, canali.com ; and a Bode jacket, $1,080, bode.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. MEG STALTER . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tiago Goya at Home Agency using Oribe. Makeup by Holly Silius at R3-MGMT. TYLA wears a Ferragamo top, $1,190, and earrings, $730, ferragamo.com . Photographed by Shikeith. Styled by Sasha Kelly. Hair by Christina “Tina” Trammell. Makeup by Jamal Scott for YSL Beauty. SARAH PIDGEON wears a Gucci dress, $24,500, gucci.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. TITUS KAPHAR wears a Saint Laurent by Anthony Vaccarello coat, $4,900, ysl.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty.

In this issue, we look at what it means for an artist to begin, from actual debuts (such as Sky Lakota-Lynch, one of our cover stars, who’s appearing this spring in “The Outsiders,” his first original Broadway role) to do-overs (such as Jon Bon Jovi, about to embark on tour after throat surgery and a 40-year career, or the cabaret performer turned visual artist Justin Vivian Bond). And though the artists who appear in these pages are all different, they share a spirit of generosity: It’s no easy thing to give voice to your dreams and insecurities, much less to do so publicly. Their collective perseverance — a mix of dogged determination and wild hope — is a reminder for all of us that a creative life, that all life, takes nerve. It takes humility. It takes a kind of arrogance that sees you through the most barren periods.

And by the way: You don’t need to be young to lead a creative life. All you have to do is start. Start — and then never stop.

On March 12, as we were readying this issue to go to press, one of our colleagues, Carter Love, T’s senior photography editor, died. He was 41.

Being a good photo editor demands taste and a sense of coordination. For a fashion or celebrity shoot, they, along with the creative director and style director, assemble teams: the photographer, of course, but also the stylist, models, hair and makeup artists and set designers. For a travel story, the photo editor selects and hires the fixer, the photographer, the location scout, the translator and the transportation. Once on set, a photo editor stays until the very end of the shoot, even if the shoot goes all day. Carter worked on these — and many other — kinds of stories, often simultaneously; in this issue alone, he produced a dozen images, from the portrait of the longtime collaborators Cindy Sherman and Marc Jacobs to the picture of the fashion designer turned photographer Miguel Adrover.

Along with his native senses of taste and coordination, Carter was — crucially — able to laugh at the absurdities, the unexpected little (and not-so-little) disasters that inevitably arise during a shoot, no matter how thorough the planning: rain on a day when sun was predicted; equipment stuck in customs; a subject’s last-minute cancellation. He had a big laugh, resonant and full, which everyone in the office could hear; at work parties, he sometimes broke into song. In addition to his big laugh, he had a big voice. He was tall and wiry and quick moving, with magnificent red hair — I’d often look up from my desk and see his head and torso streaking across the top of the cubicle walls, hurrying off somewhere.

One of Carter’s most used phrases was “absolutely.” Could I see more options from this shoot? “Absolutely.” Could I have a list of the talent that had already confirmed? “Absolutely.” Thanks, Carter, for this new information. “Absolutely.”

Barely a week after his death, that word keeps beating in my head. Will we always ask ourselves why he had to die? Absolutely. Were we lucky to work with him? Absolutely. Will we miss him? Absolutely. Absolutely. Absolutely.

Digital production and design: Danny DeBelius, Amy Fang, Chris Littlewood, Coco Romack, Carla Valdivia Nakatani and Jamie Sims.

ONE EVENING 17 years ago, V.S. Naipaul came to dinner at my flat in Delhi. The writer, who had become something of a mentor to me, was transfixed by a painting I had bought a few years before. It was a self-portrait, over 7 feet tall and 5 feet wide. “I find it hypnotic,” Naipaul said, filing away spoonfuls of yellow dal. Observing the beauty of the hand clasped (as if in horror) over the mouth, the thumb livid against the dark hollows of the eyes, he added of the artist, “This is someone who has really seen, who has gone back again and again to see.”

Listen to this article, read by Neil Shah

I was at the beginning of my writing career, using my first advances to collect a few works of art. It was thrilling to have someone with as discerning an eye as Naipaul’s — “the brilliant noticer,” in the words of the literary critic James Wood — approve of “How Did You Sleep?” (2002), but it also made me sad. Its creator, Zack, who’d been a close friend at Amherst College in Massachusetts in the late 1990s, had recently given up painting, and “How Did You Sleep?” had become a symbol to me of the precarity of what it means to get started as an artist.

The Italian artist Artemisia Gentileschi was 17 in 1610 when she painted “Susanna and the Elders” (above). She went on to be the 17th century’s most accomplished female painter.

Zack, now 43, was of a mixed-race background from Topeka, Kan. After struggling with feelings of inferiority in our first year related to his public school education, he taught himself to paint from scratch. I would visit him and watch as he, dressed in paint-stained khakis and New Balance sneakers, toiled away at the self-portraits that were his trademark. He was a model to me of artistic labor and discipline, even if those early paintings were painfully amateurish.

Then, in our last semester, having been abroad a while, I entered Fayerweather Hall for the art department’s end-of-year show and saw “How Did You Sleep?” I was dumbstruck. I’m not sure I would’ve even been able to recognize it as Zack’s work — so prodigious had been his development as a painter — if it hadn’t been a self-portrait. Painted in the wake of 9/11, it showed the artist in a blue shirt with an expression of prophetic terror, as if watching a disaster foretold. I remember wanting to own it because it was proof, like none I had ever had before, that there really did exist such a thing in the world as raw talent. I persuaded Zack to sell it to me. The painting followed me from Amherst to my first job in New York, and on to London and Delhi.

By the time Naipaul saw it, Zack was working in strategic and financial communications in New York and no longer painting — “Every notary bears within him the debris of a poet,” Gustave Flaubert tells us. “My new job is intense,” Zack had written to say. “It’ll be good for a few years, but it’s not a career.” But neither was art; and Zack, who works as a researcher at Google now, was my first fearful example of how that mythical thing we call talent is real, and how talent alone isn’t enough.

IT WASN’T MY intention to start an essay about artistic beginnings with a story of artistic death. I love those romantic tales of creative daring and breakthrough: the English travel writer and novelist Bruce Chatwin quitting his job at The Sunday Times of London’s magazine with a simple telegram that read, “Have gone to Patagonia”; or, more dramatically, Paul Gauguin abandoning his wife, kids and job as a salesman to pursue his dream of being a painter. I love the improbability of the lives that could not have been: Salman Rushdie, the adman; W. Somerset Maugham, the doctor; the director Kathryn Bigelow, renovating dilapidated apartments in New York with the then-obscure composer Philip Glass. I remember Arundhati Roy teaching my mother and aunt aerobics in the basement of the Taj Palace Hotel in New Delhi before going on to win the Booker Prize for her debut novel, “The God of Small Things” (1997). It’s exhilarating to see destiny pick those who could but only have been artists out of the mundanity of their lives and light the way to a life of vocation.

I’m especially moved by those first moments of validation by which an artist comes out to himself, as it were. Consider Joseph Conrad in his mid-30s, working aboard the ship Torrens, with the manuscript of his first novel, “Almayer’s Folly” (1895). It had acquired, he writes in “A Personal Record” (1912), “a faded look and an ancient, yellowish complexion.” At sea, Conrad met his first reader, Jacques, a “young Cambridge man.” “Well, what do you say?” Conrad, brimming with anxiety, asked his new friend. “Is it worth finishing?” “ ‘Distinctly,’ he answered, in his sedate, veiled voice,” Conrad recalls years later, “and then coughed a little.” With that one word, Jacques, who was soon to be carried away by a fatal cold, had given a seafaring Polish exile a vital nod of encouragement. “The purpose instilled into me by his simple and final ‘Distinctly,’” writes Conrad, one of literature’s late bloomers (he was 38 when he published his first novel), “remained dormant, yet alive to await its opportunity.”

This quiet admission to oneself, as sacred as the vows of priesthood, of wanting to undertake the creative life is a necessary step; but like talent, it’s not enough. To be an artist is not a private act but a public one. No artist is born into a vacuum, or later speaks into one. They are as much a product of the society they emerge from as a response to it. Nor is artistic expression all spirit, all feeling. As Naipaul has frequently noted, writers require a complex edifice of interlocking parts — an infrastructure, if you will — to thrive. More broadly speaking, all successful artists rely on a network of critics, journals and newspapers, a discerning audience, bookshops and concert halls and galleries — which is generations in the making, presupposing certain values, certain economic and political realities. The Ukrainian-born novelist Clarice Lispector came of age in the Brazil of the 1920s. At 13, she “consciously claimed the desire to write,” as her biographer Benjamin Moser quotes her in “Why This World” (2009), but no sooner had she claimed her destiny than she felt herself in a void. The idea of vocation had been instilled in her, but that didn’t mean she knew how to proceed. “Writing was always difficult for me,” Lispector once wrote, “even though I had begun with what is known as vocation. Vocation is different from talent. One can have vocation and not talent; one can be called and not know how to go.”

Lispector had both vocation and talent, but what makes any artist’s first steps so tentative is that the path forward is narrower than we imagine. We come into the world believing we can be a great many things (and for a great many this is true) but, for those destined to be artists, the creative choices they make are almost as limited as the choice of being an artist itself. Maugham wanted to demystify the impulse that had him give up medicine to answer his calling as a novelist. “I am a writer as I might have been a doctor or a lawyer,” he writes in “The Summing Up,” his 1938 literary memoir, but, soon after that, despite himself, Maugham stumbles on that aspect of the artistic life that eludes banalization, for it’s truly mysterious — namely, the bond between the artist and his subject. “Though the whole world,” writes Maugham, “with everyone in it and all its sights and events, is your material, you yourself can only deal with what corresponds to some secret spring in your own nature.”

A painting of a skull next to an hourglass with flowers, butterflies and bubbles around it.

“Vanitas Still Life” (circa 1665-70) by Jan van Kessel the Elder, who was from a long line of celebrated Flemish painters — Pieter Bruegel the Elder was his great-grandfather — and was perhaps destined to be an artist.

It’s this, the inexorability of the correspondence between an artist and the world, that gives those first steps their magical quality. It represents a rebirth so profound that it can often entail the killing off of a former self. One of my literary heroes, the writer Rebecca West — the author of that magisterial work of travel, inquiry and sympathy “Black Lamb and Grey Falcon: A Journey Through Yugoslavia” (1940) — was abandoned (as I was) by her father as a child. In late Victorian England, it left her with an exaggerated regard for what were seen as male qualities, as well as the need to compensate for their absence. “Men, she felt,” writes J.R. Hammond in “H.G. Wells and Rebecca West” (1991), his biography of their romantic and literary relationship, “should be strong and dependable; deep inside herself she sensed they were not to be trusted.” These gendered dynamics were surely at work as West, first making her way in the world at age 20, sloughed off the softer given name of Cissie Fairfield to adopt, as a pseudonym, the name of the spirited protagonist of Henrik Ibsen’s play “Rosmersholm” (1886).

No artist is without this set of special circumstances. They are the ground from which the need for expression arises. The path forward comes upon the artist-in-waiting with the power of certain mathematical proofs, elegant, inevitable, at once simple and inscrutable. “Falling in love for the first time and getting started as a writer,” my friend the writer Karan Mahajan, 39, the author of the novels “Family Planning” (2008) and “The Association of Small Bombs” (2016), replied by email when I asked him what it had been like for him, “both things happened at once for me. Suddenly, I had my material, and it encompassed all aspects of my life: my childhood in Delhi; immigration to the United States as a student; a future decided by plane journeys. I could love myself as the other loved me.”

For the Pakistani-born American painter Salman Toor, 40, the moment when, he says, “something vital clicked into place” meant that he suddenly found himself in “a direct relationship” between the things he was thinking and talking about every day and the paintings he was at work on. “In 2016,” he says, “I did a few paintings out of a need to be completely honest with myself. I wanted to illustrate the stories I was bursting to tell. A lot of these stories were about coming out and showing the excitement, anxieties and challenges of belonging to multiple cultures and living a cute little life in the East Village.”

The date surprised me. I had been aware of Toor’s work for almost a decade before this moment. To me, he was the painter of a certain kind of South Asian disquiet. No one captured the massive cultural and economic disparities of my life in Delhi (and his in Lahore) like Toor. Upon scenes of revelry and privilege — a party, a picnic, a rich westernized couple frolicking out of doors with a glass of wine and an iPhone — he would, in the form of servants in the background looking on, introduce an element of unease that hinted at the fragility of the societies we lived in. But quite unbeknown to me, Toor’s life in New York had opened up a new vein of material. To put it another way, he had begun again. And this is what we tend to forget: In the careers of certain artists, those who make big, varied bodies of work in which different strands of their experience are subsumed, the business of beginning, and beginning again, never ceases. Each new beginning brings with it all the uncertainty and blankness of the first. Experience might protect such an artist from forcing what’s clearly not working, but that core anxiety of not knowing if one will create again always remains. “Do not worry,” Hemingway would console himself, “you have always written before and you will write now.”

WHAT CONSTITUTES A beginning? In the common conception, it’s the first book, the first album, the first show at a major gallery. Yet an artist has myriad private ways in which they mark moments of true breakthrough. My childhood friend the sitarist and composer Anoushka Shankar, 42, regards her fourth album as her first. She had grown up under the influence of her mighty father, Ravi Shankar, the man credited with having introduced Indian classical music to the West. Every artist struggles with what the literary critic Harold Bloom has called the anxiety of influence but, in Anoushka’s case, it was even more pronounced. As she told me, Ravi Shankar was “my guru, my teacher, my father.” It was he who had composed her first three albums.

Ravi, before he went on to become the greatest sitarist of his generation, had been part of a dance troupe led by his brother Uday, which caused a sensation in the Europe and America of the 1930s. “Hindu thought, alive, authentic, in flesh and bone, in sound, gesture and spirit,” is how the French mystic René Daumal describes the Shankar troupe in his book “Rasa” (1982), but Ravi was conflicted. He eventually broke with the troupe and dedicated himself entirely to the sitar. “He had a real directional shift that I didn’t have,” Anoushka says. Her beginnings, though she was six decades younger than her father, were in a sense more traditional. They entailed the surprise of finding newness within tradition. “I think my journey,” she says, “was more progressively finding how the thing that was in front of me — the sitar, namely — the thing that had been given to me, could be my outlet, could be my voice.”

A coda to this intergenerational tale of artistic beginnings is the story of Anoushka’s half sister, Norah Jones, who spent years of her childhood estranged from her father and grew up in Texas with her American mother. At a time when both Anoushka and I were discovering our half siblings, I remember going to see Norah play at little-known clubs on the Lower East Side of Manhattan. She was staking claim to what felt like a genetic destiny in music, though in a tradition entirely different from that of her father and sister. I don’t know if I’ve ever witnessed beginnings as meager and transformational as these for, not long after, Norah’s debut album, “Come Away With Me” (2002), was released; it went on to win five Grammys, sell 30 million copies and all but save the piracy-shattered music industry.

We live in a society that prizes the individual above all else but, in the art of premodern Europe and classical India, to begin as an artist didn’t necessarily entail breaking with tradition, nor was it given to every artist to be original. “Raphael was adept at this,” writes Rachel Cusk in her travel memoir “The Last Supper: A Summer in Italy” (2009), in which she describes the Italian Renaissance painter’s relationship to his first guru, Perugino. Raphael had become so good at imitating Perugino, Cusk tells us, that the copies of his master’s work were indistinguishable from the originals. The art of pastiche, of inhaling the influence of an older admired artist so completely that it enters your soul, exists today, too. The South African writer J.M. Coetzee’s early works owe a huge debt to Samuel Beckett, as Rushdie’s do to Gabriel García Márquez and Thomas Pynchon’s to James Joyce. The difference in the modern era is that influence is something we must shrug off in order to become our own people, yet not everyone can. Cusk deals very movingly with Raphael’s quest (and ultimate failure) to be his own man. In a field crowded with giants such as Michelangelo and Leonardo da Vinci, he “retreated behind the mask of humility, never to come out again.” But far from this being his downfall as an artist, it, too, was a kind of beginning. “In the end,” writes Cusk, “his borrowing of such greatness amounted to greatness itself. Not everyone who sees a Michelangelo can go off and paint a Michelangelo.”

THERE ARE SO many ways to begin. I said it wasn’t my intention to open with a story of artistic death, but I never explained why I did. The reason is that after six books, and 20 years after writing my first publishable sentences, stamina, endurance and the ability to stay the course have come to mean at least as much to me as that first raw efflorescence of talent. If Zack’s story acquired the force of parable for me, it was because it showed me the vanity of our preoccupation with talent. Many with fewer gifts who are yet more steadfast go on to have brilliant careers as artists. There’s an undeniable mystery in why some among us become artists, but there’s a greater mystery to me still in those who survive the vicissitudes of creative life, leaving behind bodies of work through which there runs an arc of growth as sublime as the vaulting of a Gothic cathedral.

A true artist always brings something new into the world. A new color, a new complexion, a new way of looking — a “new kind of beauty,” to use Marcel Proust’s phrase for the special distinctiveness he felt that Fyodor Dostoyevsky had brought to literature. We make the mistake of thinking of that newness as an externality, a scaffolding, a mere matter of style. But in fact, the originality we detect on the surface is an emanation from the birth of a new idea. It’s something far more radical, far more unnerving, than we are prepared to accept. Real artists bring about real rupture. We want to domesticate the discomfort that makes us feel but, deep down, we know the old rules no longer apply; and for one fleeting moment, our world, with us in it, is laid bare, transfigured by the imagination of someone who has dared to see it anew.

Read by Neil Shah. Narration produced by Emma Kehlbeck. Engineered by Quinton Kamara

Amy Tan , 72, writer, on “The Joy Luck Club” (1989)

Amy Tan holds Daisy Tan's right elbow with her left hand. They are walking down the a sidewalk and smiling.

Tan with her mother, Daisy Tan, in San Francisco in 1989. The author’s 11th book, “The Backyard Bird Chronicles,” a collection of illustrated essays, is out this month.

Robert Foothorap

I was a business writer [of marketing materials for companies and brochures for their employees] in the mid-1980s and, even though I was successful, I was unhappy. I wasn’t doing anything meaningful. Writing fiction allowed me, through subterfuge, to access emotional realms that I hadn’t explored before. When you write your first novel, you tend to include a lot of autobiographical elements. “The Joy Luck Club” [about the lives of four Chinese immigrant women and their American-born daughters] became deeply personal without my knowing it. I wasn’t consciously writing about racism or generational divides, even though that’s exactly what I was writing about. At that time [Tan was 37 when the book came out], I was just trying to find a story.

A cover of the book "The Joy Luck Club" with illustrations of dragons and a mirrored cloud-like pattern.

People got all kinds of things out of it. They said it saved their marriage or helped their relationships. I felt wonderful about that, but I couldn’t take credit. I didn’t intend to write a book that was going to improve people’s lives. That would’ve been a noble pursuit but, to do that, I’d have had to come up with a book that was very different — less spontaneous and honest. Without a doubt, what made me proudest was that my mother read it. She wasn’t proficient in English, but she understood it more than anybody else. — L.G.

Avril Lavigne , 39, musician, on “Let Go” (2002)

Avril Lavigne sits cross-legged on an office chair wearing headphones with a microphone in front of her face.

Lavigne at a recording studio in Cologne, Germany, in 2002. The musician’s new tour, “Avril Lavigne: The Greatest Hits,” begins next month.

Fryderyk Gabowicz/Picture Alliance/Getty Images

I remember going into the studio and people trying to tell me what to do or how my music should be, but I knew what I wanted to create. “Let Go” reflects how I felt as a young girl coming into the music industry. I was 15 when I got signed and 16 when I made that album. I had all this angst and rebellion, and I wanted to be expressive in that tone. But the adults around me kept delivering cheesy song ideas, and I wasn’t feeling the way people were playing the guitar. It was all too light and fluffy; that’s the stuff that made me run.

The cover for Avril Lavigne's Let Go album, with the text in a scratched font, and a blurred cover image of Lavigne, wearing all navy, with her arms crossed, standing on the street.

Courtesy of Sony Music Entertainment and Avril Lavigne

When I went to Los Angeles and connected with [the album’s co-writers Lauren Christy, Graham Edwards and Scott Spock of] the Matrix and Clif Magness, they were way cooler and more open-minded. Lauren and I spent a lot of time together. I sat with her in the backyard on a picnic blanket writing “Complicated”; we really connected. I was finally understood. The production was a little poppy for me. If I had to redo the album today, I’d tweak some things here and there production-wise and apply some of my experience from the past 20 years. Still, the important songs like “Sk8er Boi” and “Complicated” rocked enough — they had the live guitar and drums — and “I’m With You” wasn’t too polished. On songs like “Unwanted” and “Losing Grip,” we really went all the way — no holding back. — L.G.

Chloë Sevigny , 49, actress, on “Kids” (1995)

Chloë Sevigny turns to face the camera. Behind her are various theme park attractions, including a ferris wheel and a carousel.

Sevigny at the Jersey Shore in 1995. The actress, who has appeared in over 50 features, recently shot “Bonjour Tristesse,” an upcoming adaptation of the 1954 Françoise Sagan novel.

From left: Lila Lee-Morrison; © Shining Excalibur Pictures/courtesy of Everett Collection

A poster for the movie "Kids", showing the letters K-I-D-S overlaid over four portraits of actors in, respectively, red, blue, green and yellow.

I still find the marketing around “Kids” [about a day in the life of some wayward New York City teenagers] a little outrageous: “The most shocking film of the year!” “A must-see!” But it worked. A lot of us making it thought of it as a cautionary tale, but so many kids have come up to me and said, “That’s why I moved to New York. I wanted to live that life.” I was an amateur [at 19, when I made the film]. I knew the cinematographer, Eric Alan Edwards. He’d shot [Gus Van Sant’s 1991 movie] “My Own Private Idaho,” and I thought the acting in that was impeccable. I trusted that if something [in my performance] was false, he’d say something. I don’t know why, but I just gave myself over to [Edwards and the director, Larry Clark]; I trusted that they wanted to get to the truth of things.

The hardest scene for me to shoot was when [my character, 15-year-old Jennie] is at the clinic receiving information that she’d contracted H.I.V. I thought, “How does one even begin to try to act that?” I was very tentative. If I were to approach that scene now, I think I’d have the confidence to try more things — one take crying, others doing this and that. At the time, I was trying to be as real as I thought I could be on camera with a crew around me.

I’m surprised that “Kids” is still making such an impact, but I’m also not. Afterward, I thought, “OK, this set a bar. These are the kinds of people I want to work with.” — N.A.

A photo of five people posing for a photograph. Stephen King wears a green shirt and a jacket and holds a baby who is drinking from a bottle.

King, the author of over 70 books, with his wife, Tabitha, and their children (from left) Joe, Owen and Naomi at their house in Orrington, Maine, in 1979. His next book, a short-story collection titled “You Like It Darker,” will be published in May.

James Leonard

Stephen King , 76, writer, on “Carrie” (1974)

One of my rules about writing is similar to a rule in [the card game] Hearts: If it’s laid, it’s played. I have a tendency not to go back and reread things, particularly with “Carrie” [a horror novel about a bullied high school student capable of telekinesis]. I’m afraid of how naïve it may be, how much it might be the work of a very young writer. It’s like when you’re a kid and you don’t know how to behave. You look back on certain things and say, “I shouldn’t have grabbed that,” or, “That wasn’t polite.” I don’t want to go back and see that my shirttail was untucked or my fly was unzipped.

The cover of a book, with the title "Carrie: a novel of a girl with a frightening power." The cover image shows half a portrait of a woman with an embroidered jacket and brown hair blowing in the air.

Courtesy of Doubleday. Photo by Joshua Scott

I’d change a lot. It would have a little more depth when it came to the characters. Remember, it started as a short story. I had this idea about a girl with paranormal powers who was going to get revenge on the girls who made fun of her. It was too long for the markets that I had in mind, and I didn’t know very much about girls anyway, particularly girls’ gym classes and locker rooms, so I threw the story away. My wife fished it out of the trash, uncrumpled the pages, looked at it and said, “This is pretty good. I’ll help you.” It’s a very short book, way under 300 pages. Also, there are pejoratives that were common then that I wouldn’t use now, even though they’re realistic and come out of the mouths of characters we don’t like. On the whole, I must’ve done a fairly good job because the book was published [when I was 26] and [in 1976] they made a movie out of it.

One of the things I think about a lot was that my mother got to read it. She had cancer at that point and died before any of my other books were published. Because of “Carrie,” I had a chance to take care of her and get her in a hospice. By then we had the money, otherwise we would’ve been out of luck. — L.G.

A man with a mustache and short brown hair stands amid brown reeds.

Holleran in Florida in the 1980s. Three of the author’s five novels, including “Dancer From the Dance,” were republished in paperback this past December.

From left: Lee Calvin Yeomans, courtesy of Andrew Holleran; Ian Dickson/Shutterstock

Ian Dickson/Shutterstock

Andrew Holleran , 79, writer, on “Dancer From the Dance” (1978)

“Dancer” has had a life of its own, which I could’ve never predicted. I wrote the book at my parents’ house in Florida one winter [when I was 33]. It was going to be the last book I ever wrote, because I’d been writing for 10 years after graduating from an M.F.A. program and had only had one story published in a magazine. I said to myself, “You have to stop now and go to law school.” Luckily, the book came out of me very quickly and, in retrospect, became a description of six years I’d spent in New York. It was very easy because I’d obviously touched something that mattered to me.

I’ve never reread “Dancer” [about gay life in 1970s New York] so, while I’m sure that if I did, I’d revise, revise, revise, I can’t imagine changing any of it. The campy style of the letters that frame the book is probably outdated, which is a shame since I love camp.

I’ve learned since then that writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it. — L.G.

Debbie Harry and Chris Stein stand on a staircase with a curved bannister and portraits hanging on wooden walls.

Harry and Stein, of the rock band Blondie, in the U.K. in 1977. Stein’s memoir, “Under a Rock,” will be published in June.

From left: Jeff Gilbert/Alamy Stock Photo; CBW/Alamy Stock Photo

The cover of the album Blondie, with the title in capital letters and italicized. It shows five people dressed in black tops and jackets standing in front of each other.

CBW/Alamy Stock Photo

Debbie Harry, 78, and Chris Stein, 74, musicians, on “Blondie” (1976)

Debbie Harry: We recorded “Blondie” [when Harry was 30 and Stein was 25] in a studio used by jazz musicians, and there wasn’t a lot of fancy recording technique. It was a different era. I think the fact that the album wasn’t overproduced gives it a kind of timelessness. We still perform some of those songs. Every once in a while, we drag up “X Offender” and “Rip Her to Shreds.”

Our music wasn’t just about one style or sound; we had songs that expressed different feelings and attitudes in music. A lot of things, like “Man Overboard” [a danceable heartbreak track], we really didn’t pull off the way I think Chris wanted to, but it’s there.

Chris Stein: That song would’ve worked fantastic with a dembow beat [but I wasn’t introduced to reggaeton until years later]. If I were to change anything about the album, it’d have more to do with the production than what we were slapping on the tape. Generally, we’d just go in and do a bunch of takes, pick the best one, throw some stuff on it and that was pretty much it. There was hardly any overdubbing. We learned so much from the producer Mike Chapman a couple of years later — the difference between “Blondie” and our later albums was like night and day.

Still, I like “Blondie.” It represents how we felt at the time and what was happening to us. When I look back on it, I think of the whole downtown milieu and a period in New York that I don’t know if anyone thought we’d be talking about 50 years later. — L.G.

Zadie Smith, wearing a black top and glasses, with her hair parted in the center, sits and looks over her left shoulder towards the camera. The wall behind her is red.

Smith at her mother’s home in northwest London in 2000. The author’s sixth novel, “The Fraud,” was published last year.

Courtesy of William Morrow. Photo by Joshua Scott

Zadie Smith , 48, writer, on “White Teeth” (2000)

I love the joy in my novel “White Teeth” [a multigenerational story of race and identity among the residents of London’s Willesden neighborhood], even though I haven’t picked it up in 25 years. Back then [Smith was 24 when the book came out], I was trying to write about people; I was interested in the interpersonal above all else. The people in the neighborhood I came from were always described in a manner of pathology, and I was trying to explain that we weren’t pathological. I was always writing around this kind of elephant in the room, which is what you know people have already assumed about your characters. As I’ve gotten older, I’ve had to do less of that because I’ve got company. There are so many writers from so many countries, particularly in West Africa, [that] I wanted to see as a child.

The cover of the book "White Teeth" with a white background and the title of the book embossed silver.

Courtesy of Penguin Random House

I’ve become more interested in power lately. I’m very aware of being like the Ancient Mariner, that the structures I’m talking about that made life not always pathological have vanished. The conditions of the characters in “White Teeth” — their decent health care, their reasonable housing, their free university education — are gone. I’m still on the side of joy, but the question is, what kind of structures allow people to experience it. As I’ve gotten older, I write about them not out of nostalgia but out of political urgency. — L.G.

Two figures stand in front of a memorial with finely carved names and large dates on a black granite wall.

Left: a mock-up of Lin’s 493-foot Vietnam Veterans Memorial. Right: Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin (2)

A polaroid of three figures smiling, with their hands crossed, sitting on a low stone wall in formal attire.

Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin

Maya Lin , 64, sculptor, on the Vietnam Veterans Memorial (1982) in Washington, D.C.

It was a battle to keep the Vietnam Veterans Memorial simple and spare. I was moved by World War I memorials built by the French and British. They offered a much more realistic and sobering look at the high price of war, which is human life. When I went to the site [of what would become the monument] on Thanksgiving break [in 1980, when I was 20 and in my junior year at Yale], I felt a need to cut the earth and open it up. The structure isn’t so much an object inserted into the earth; it’s the earth itself being polished like a geode. I considered everything, even the walkway, which was put in to intentionally separate the wall from the ground. If you put the granite sidewalk all the way up against the wall, it would no longer be a polished geode — it’d be a curb. I put grass there. But no one could have predicted how popular it would be, so people trampled the grass and it died.

A year or two after the memorial was built, unbeknown to me, the architects of record worked with [the National] Park Service to put in [Belgian blocks on either side of the granite path]. That needs to be rethought because it’s an ugly detail. They’re out of scale. It drives me crazy every time I see it. — L.G.

Chapman with the producer David Kershenbaum at a Los Angeles recording studio in 1987. The musician’s debut album will be reissued on vinyl this summer to mark its 35th anniversary.

From left: Lester Cohen/Getty Images; courtesy of Elektra Records

A sepia-toned album cover, with the title "Tracy Chapman" rotated to the side, running vertically on the left side, and a portrait of Chapman looking down.

Courtesy of Elektra Records

Tracy Chapman , 60, musician, on “Tracy Chapman” (1988)

I had this notion when I first started writing songs that to respect the muse — or whatever source of inspiration brought me to put pen to paper — I shouldn’t do any editing. The first thing that came to me was meant to be. “Talkin’ Bout a Revolution,” which I wrote when I was 16, emerged from that mind-set. It was one of those songs that came out in one sitting. It’s a very forceful declaration.

A song like “Fast Car,” which I wrote when I was maybe 22, wasn’t a very long process, but it reflected a different strategy about songwriting. It was more about revelation, sharing a story about a person and the changes happening in their life. I made edits to “Fast Car.” I definitely changed words and lines. I’m too embarrassed to tell you exactly what, but it was the verse that starts “See, my old man’s got a problem.” Let’s just say that there was something else there.

In some ways, writing a song is about asking and answering questions: “Who is this character, why are they doing this and where is the story going?” When I was young, I thought all these questions could be answered with the first iteration of the song. I’m not as enamored with this idea that the very first thing that comes to mind is what I have to remain committed to. — L.G.

Jewel , 49, musician, on “Pieces of You” (1995)

Jewel, surrounded by people in a recording studio, wearing a white and orange striped shirt, looks back over her left shoulder.

Jewel at the musician Neil Young’s private studio in Northern California in 1994. An immersive exhibit of the singer-songwriter’s work will open at the Crystal Bridges Museum of American Art in Bentonville, Ark., in May.

Courtesy of the Jewel Kilcher Archive and Bershaw Archival Management

What’s important to me about “Pieces of You” is that I made an honest album. I liked [the writers] Charles Bukowski and Anaïs Nin because they told the truth about themselves, and it wasn’t always pretty. With my work, my goal was to be just as honest. “Pieces of You” wasn’t more developed than I was — I didn’t know how to play with a band, and I didn’t choose a producer who’d make me sound slicker or lend their experience to make me sound more polished. I wanted it to be a snapshot of who I was [between 16 and 19]: inexperienced, emotionally charged and trying to figure life out.

An album cover, with the title "pieces of you" and text reading "what we call human nature in actuality is human habit." The cover image is Jewel, smiling with hair blowing in her face in a wing-shaped cutout.

Courtesy of Craft Recordings and Jewel

Writing was medicine for me. I had extreme anxiety, panic attacks and agoraphobia. I wrote songs to calm myself down and to help me fall asleep at night. I never wrote them thinking I’d have a career. There wasn’t really a craft — it was more about what comforted me, what suited me, what interested me to think and write about. I was an avid reader, and a lot of my writing took after Flannery O’Connor, [John] Steinbeck and [Anton] Chekhov, like short stories put to music.

I remember writing at that age that I didn’t want my music to be my best work of art — I wanted my life to be my best work of art. I take music seriously, but I take that promise to myself more seriously. — L.G.

These interviews have been edited and condensed.

JANE FONDA AND LILY TOMLIN, ACTRESSES Have co-starred in three films and a TV show, from “9 to 5” (1980) to “80 for Brady” (2023).

Video by Kurt Collins

JANE FONDA: It was 1978, and I heard that Lily Tomlin was performing in a [one-woman] show called “Appearing Nitely” in Los Angeles. I don’t know how many characters she played, but she embodied them all so fully. I was smitten. I went backstage to meet her. At the time, I was in the process of developing “9 to 5” [the 1980 comedy about a trio of female office workers who overthrow the company’s sexist boss] and, as I was driving home, I thought, “I don’t want to be in a movie about secretaries unless Lily Tomlin is in it.”

LILY TOMLIN: She swept in backstage with a big cape on. We couldn’t believe it — this was Jane Fonda! For a couple of years, I’d worn a hairdo from “Klute” [the 1971 thriller for which Fonda won an Oscar], but I didn’t have it when she showed up that day. I was like, “Why did I drop my ‘Klute’ hairdo at this propitious time?”

J.F.: It took a good year to convince Lily and Dolly [Parton, the film’s other lead] to do the movie. It’s not that they weren’t interested, but it was very difficult. Why was it so difficult, Lily?

L.T.: I think I was that way about everything.

Jane Fonda and Lily Tomnlinn pose for a portrait. Fonda has her arms crossed and Tomlin has her hands in her pockets

From left: Fonda, 86, and Tomlin, 84, photographed at Hubble Studio in Boyle Heights, Los Angeles, on Jan. 29, 2024.

Kanya Iwana

J.F.: You are that way about everything: “I don’t know if I can do this. I’m not right for the part.” You do that every time. But it was your idea to get Colin Higgins to direct and to cast Dabney Coleman [as the boss]. You should’ve been the one producing it! My only decision was to make the movie, because one of my close friends, [the former director of the U.S. Department of Labor Women’s Bureau] Karen Nussbaum, would tell me stories about organizing women office workers and what they had to go through.

L.T.: I thought I had some lines that were hitting you over the head with the joke. Yet when the movie was released, those lines got the biggest response from the audience.

J.F.: Both of us got a kick out of Dolly’s innocence. When she showed up the first day, she’d memorized the entire script. And then the day that Dolly sang —

L.T.: Oh, that was a glorious moment.

J.F.: She used her long nails like a washboard and started to sing, “Working 9 to 5. …” Lily and I looked at each other and we knew: “This is it — we’ve got an anthem.” But I think my favorite shooting experiences were when we had the dead body in the back of the car. We went to the Apple Pan [a diner in Los Angeles] because Dolly wanted to get a cheeseburger, remember?

L.T.: Everybody would tell stories about their life, and we just fell in love with each other.

J.F.: Our worlds are so different. Our backgrounds are so different. Our senses of comedy — I mean, I don’t really have one.

L.T.: Jane was so earnest. She felt so passionate about every activist problem that she was trying to solve. It was inspiring and endearing.

J.F.: Since then, we’ve done seven seasons of [the Netflix TV series] “Grace and Frankie” [which ran from 2015 to 2022]. Ten days after we wrapped, we started a movie that we both like a lot called “Moving On.” When that came out [in 2023], I was interested in the reviews — almost every one of them talked about our chemistry. And it was like, “Well, maybe we should always work together.” — E.R.A.

Fonda: Hair: Jonathan Hanousek at Exclusive Artists Management. Makeup: David Deleon at Allyson Spiegelman Management. Tomlin: Hair: Darrell Redleaf Fielder at Aim Artists Agency. Makeup: Shelley Rucker at Aim Artists Agency. On-set producer: Joy Thomas. Photo assistant: Jeremy Eric Sinclair. Digital tech: Aron Norman

MARC JACOBS, FASHION DESIGNER, AND CINDY SHERMAN, ARTIST Have collaborated on multiple projects for the Marc Jacobs brand, from a 2005 photo book to the spring 2024 campaign.

Marc Jacobs and Cindy Sherman both stand in front of a gray background wearing black shirts and raising their right arms.

From left: Jacobs, 61, and Sherman, 70, photographed at Go Studios in Hell’s Kitchen, Manhattan, on March 5, 2024.

MARC JACOBS: In 2004, I reached out to ask if you’d [be in a Marc Jacobs campaign]. I knew your work very well, and I knew that you’d done an ad in 1984 for [the French fashion brand] Dorothée Bis. That made me think, “Maybe she’d do this with us.” I was a little intimidated about asking.

CINDY SHERMAN: I was so intimidated that you’d asked. I remember thinking, “I’m going to bring a bunch of wigs and makeup.” It was just me for a few shots, but then [the German photographer] Juergen [Teller] got playful and started putting himself in the pictures. He gradually shaved parts of his face and head. He’d started the shoot with a full head of hair and beard; by the end, he was completely bald with no facial hair at all.

M.J.: I wasn’t there, but I got calls from Juergen saying, “It’s [expletive] excellent, it’s [expletive] excellent.” He says that when he’s really excited. You created some hilarious characters. There was one where you were both older, sitting on a bench.

C.S.: Rifling through a big bag.

M.J.: That image became a billboard on Melrose [Avenue in Los Angeles]. It was great because fashion campaigns like that didn’t exist back then. Nobody would’ve ever said, “ That’s our ad,” because it wasn’t exactly selling clothes or bags. But it was exciting.

C.S.: What’s funny is that you’d asked me, a year or two ago during Covid, to do something — I don’t even remember what it was. I’d gained a bit of weight, so I was self-conscious and kept turning you down. [For the 2024 campaign I ended up doing] some of the outfits were a little tight. The people assisting me said, “We can fix that.” And I said, “No, no, it’s [perfect for] the character.” I guess I could’ve thought of someone who was trying to hide, but I decided, “No, she seems like she could just let it all hang out in her leather pants.” How do you feel when you see different types of women wearing your pieces or putting them together in unusual ways?

M.J.: It’s the ultimate validation. Of all the stuff that exists out there, they’re spending their money on something I’ve made. How about you with collectors?

C.S.: Sometimes it’s a little weird. I remember an early series of horizontal pictures that I called “The Centerfolds” (1981) — I thought they were kind of disturbing, but some collector said, “I have that one hanging over my bed because it’s so sexy.” And I’m thinking, “Ugh, I don’t want to know that.” But you can’t control what happens to a piece.

M.J.: Or what other people see in it. Feedback is part of the equation. It’s like, “I’m not just doing this for me. I need you.” — E.R.A.

Production: Prodn. Hair: Tsuki at Streeters. Makeup assistant: Nanase. Photo assistants: John Temones, Tony Jarum, Logan Khidekel

CARLOS NAZARIO, STYLIST, AND WILLY CHAVARRIA, FASHION DESIGNER Have worked together on three collections since 2022.

Willy Chavarria, wearing a black T-shirt and necklaces, stands and crosses his arms. Next to him sits Carlos Nazario, wearing a white T-shirt.

From left: Nazario, 36, and Chavarria, 56, photographed at Chavarria’s studio in Greenpoint, Brooklyn, on March 18, 2024.

Emiliano Granado

WILLY CHAVARRIA: Carlos and I would see each other at Calvin Klein [Nazario has styled for the brand; Chavarria was its senior vice president of design from 2021 until 2023], but our first formal meeting was lunch at the Odeon. Like Truman Capote’s swans, we had salads and talked about water and weight loss.

CARLOS NAZARIO: It wasn’t like we were meeting to discuss a project. That sort of evolved organically.

W.C.: I was terrified to ask you to work with me. I remember texting to [see] if you’d style my [fall 2023] show. Do you know what you said? “I thought you’d never ask.”

C.N.: Willy’s work spoke to me in such a profound way. There was such a similarity — if not in aesthetic, definitely in intention. A lot of brands lack depth and a soul. I’m Afro-Latino. I grew up in New York with a certain relationship to how one presents themselves to the world, what glamour means and looks like and how it’s communicated. I was always intrigued by how Willy’s designs encompassed all those things.

W.C.: [The way we collaborate] is so natural and unpretentious. We end up telling a story that we feel good about.

C.N.: Every relationship between a stylist and designer is unique. Some designers require a lot more — from research to manufacturing and the show. Others want you to come in right at the end and say, “Let’s put that on this model.” With Willy, our conversations prior to my first day were conceptual. We talked about what he wanted it to feel like, rather than what he wanted it to look like.

W.C.: For that first show together, we wanted the cast — all people of color, many of them queer and trans — to feel elevated and empowered. Marlon [Taylor-Wiles, the show’s movement director] was going to have the models look down at the guests.

C.N.: At the rehearsal, we were like, “Maybe it’s a bit creepy.” I wasn’t uncomfortable [giving my opinion] because Willy’s such an easy person to talk to. But anytime you’re coming into a space where everyone has clearly defined roles, you feel like a stepparent. You’re a bit like, “Do I discipline the daughter? Do I tell her the skirt’s too short?” I didn’t want to overstep, but I also wanted to make my presence worth it. As we got more comfortable [with each other], we got more comfortable trying things.

W.C.: The next season, we took more risks. We wanted it to feel refined and elegant, but we also wanted to inject a youthfulness.

C.N.: At a lot of [brands], it’s like, “This season, everything’s a miniskirt. If your thighs aren’t great, see you in the fall!” Willy’s casting allows for a very broad vision in terms of what the styling can do: You’ll have someone like me, who’s 5-foot-4 [Nazario walked in the fall 2024 show], and then you’ll have someone who’s 6-foot-4.

W.C.: You’ll have a woman in her late 50s and a 17-year-old boy.

C.N.: Everyone from twinks to daddies. If you tried to dress everyone the same, it’d be a disaster.

W.C.: I can suggest something that you don’t like, and you’ll say, “Let’s go with it. Let’s see.” And I’ll do the same. I’ve worked with stylists who will deliberate over the positioning of a hat for hours. The stress level is so intense, it kills the moment. Having the freedom [to experiment reflects] a levity we want the brand to have. You know, we address serious subjects, like human rights, inclusion …

C.N.: Self-identity. But if we’re stressed, everyone’s stressed. We try to keep it light, but we also understand the weight of the responsibility. It’s rare that you work with people who understand what you’re feeling and what you want to convey. And I think our trust lies in that. — N.H.

Photo assistants: Eamon Colbert, Jordan Zuppa

MINK STOLE, ACTRESS, AND JOHN WATERS, FILMMAKER Have worked together on almost every one of his movies since “Roman Candles” (1967), including “Pink Flamingos” (1972), “Hairspray” (1988) and “A Dirty Shame” (2004).

Video by Melody Melamed

MINK STOLE: John, I’ve just been told your conference line is charging me a penny a minute.

JOHN WATERS: Oh, c’mon. I’ve been using it for 20 years. It’s never said that.

M.S.: It’s fine. I can handle it.

T: How did you two first meet?

J.W.: Mink also grew up in Baltimore, although I was friends with her older sister Mary, who now goes by Sique. My memory’s that we met in Provincetown, Mass., right before doing my second movie [the 1967 short] “Roman Candles” [in which Stole plays a party guest who gets spanked]. She was looking to go bad and found the right crowd. Prescott Townsend, one of the first gay radicals, allowed us to live in a tree fort he’d made.

M.S.: That was the summer I got introduced to homosexuality.

J.W.: Did we take acid that summer?

M.S.: I kind of think we did, yeah.

J.W.: And then we took it again 50 years later. My mother always used to say, “Don’t tell young people to take drugs.” But I’m not — I’m telling old people to. Anyway, we shot “Roman Candles” partly at my parents’ house and, oddly enough, a decade later, you filmed a big scene at that same house, in my parents’ bedroom, when you played [the delusional housewife] Peggy Gravel in “Desperate Living” [1977].

Mink Stole and John Waters, both wearing white shirts and dark gray jackets pose against a light gray background.

From left: Stole, 76, and Waters, 77, photographed, respectively, at Edge Studios in Mid-Wilshire, Los Angeles, on Feb. 4, 2024, and at Waters’s home in Tuscany-Canterbury, Baltimore, on March 7, 2024.

Melody Melamed

M.S.: We threw a baseball through a window and kind of trashed the place. Your mom was a sport.

J.W.: So was yours. Mink and I were arrested [along with three other members of the crew] for conspiracy to commit indecent exposure while making [the 1969 film] “Mondo Trasho.” It was in the paper. They printed your poor mother’s address.

M.S.: We were acquitted.

J.W.: We’d been filming a scene at Johns Hopkins University with [the actor and drag performer] Divine, in full makeup and a gold lamé top with matching toreador pants, in a 1959 red Cadillac convertible with the top down in November. I never asked permission [to shoot]. The police came and we all ran. The fact that we got caught and Divine escaped didn’t say a lot for the Baltimore police. Mink played an escaped mental patient; she did a nude tap dance.

M.S.: I’d get upset when the press would call us unprofessional because, although it was true that not one of us had ever taken an acting lesson, we were incredibly professional. And none of it was ad-libbed. John wouldn’t have tolerated that. He knew every comma, every “and,” every “but.”

J.W.: What’s that French term for people who go crazy when they’re together?

M.S.: “Folie à something”?

J.W.: “Folie à famille.” Everybody chipped in, and we just went for it.

T: Mink, were there any scenes you refused to shoot?

M.S.: Before we started filming “Pink Flamingos” [1972, in which Stole plays the proprietor of a black-market baby ring], John very casually said, “Will you set your hair on fire?” And I said, “Yes, that’ll look great on film.” But then as the moment approached, I panicked.

J.W.: I was on pot when I thought of that.

M.S.: It would’ve been great, except that I’d be bald today. I think that’s the only thing I ever refused to do.

T: What’ve you learned from each other?

M.S.: In the early films, we all acted largely. We spoke in italics. In the later ones, when I’d start to behave that way, John would say, “Take it down.” I was shocked [the first time he said it].

J.W.: When we made those early movies, I was influenced by the theater of the ridiculous — by cruelty, shouting and craziness. It wasn’t them overacting, it was me telling them to overact.

M.S.: I have enormous respect for John, and John for me. Aside from the fact that I love him dearly, I don’t know where I’d be if I hadn’t met him.

J.W.: And we’ve never had the same boyfriend.

M.S.: Or wanted the same boyfriend.

J.W.: Mink and I have been through a lot together. We’ve fought, we’ve made up. I don’t trust people who don’t have old friends. For me, they outlast family. Mink and I are even going to be buried together in the same graveyard. We call it Disgraceland. — N.H.

Waters: Makeup: Cheryl Pickles Kinion. Photo assistants: Daniel Garton, Ashley Poole

COBY KENNEDY AND HANK WILLIS THOMAS, ARTISTS Have spent three decades collaborating on public art installations and community-focused projects, including 2023’s “Reach,” a more than 2,700-pound fiberglass-and-resin sculpture at Chicago’s O’Hare International Airport of two hands nearly touching.

Coby Kennedy and Hank Willis Thomas pose in front of a gray background.

From left: Kennedy, 47, and Thomas, 48, photographed at Thomas’s studio in East Williamsburg, Brooklyn, on Feb. 28, 2024.

D’Angelo Lovell Williams

COBY KENNEDY: We met on a collaboration, actually. It was the summer of 1992.

HANK WILLIS THOMAS: I’d been recruited to work with Coby to renovate the darkroom at Howard University [in Washington, D.C.], where his father [Winston Kennedy] was the chair of the art program. We were in high school. Building a darkroom when you don’t really know how — that’s kind of the way we’ve always worked. Back then, Coby was a street writer.

C.K.: A graffiti writer, in the parlance of our times. My graffiti and school crews melded into this conglomerate [called] the Earthbound Homies.

H.W.T.: This was [during the] peak ’90s hip-hop days. The group was [made up of] all these young, primarily Black artists. I wasn’t one of them, I was a documenter.

C.K.: Hank was in museum studies, while the rest of us were in visual arts. He was very quiet and observant. It felt like he was always regarding you.

H.W.T.: The core of our relationship has been fostering opportunities for others to interlace their practices. The Wide Awakes [their most recent art collective, named after a progressive group that supported Abraham Lincoln during the 1860 presidential election] took off in my old studio in December 2019.

C.K.: We were trying to plug into society and see how we could influence it. When 2020 happened — the pandemic, the lockdown, the insurrection — we really hit the accelerator with it.

H.W.T.: I’d call the Wide Awakes our first public collaboration. But then again, 2016 is when “Reach” [their sculpture at Chicago’s O’Hare airport] first started. We’re excited to have it be one of the largest public acknowledgments of something we’ve been doing for 30 years.

C.K.: In our collaborations, we kind of fill in each other’s gaps.

H.W.T.: As a conceptual artist, I have great ideas — a lot of them. Coby, who has a history as an industrial designer and animator, is the bridge between the proposal and how it happens. With virtually every one of my public sculptures, he’s done all the initial concepting. He’s always had this ability to see what others are thinking. We also have different tastes.

C.K.: And they’re sometimes at odds with each other, which is one of the best parts [of our working relationship], because I’d hate for both of us to be middle ground.

H.W.T.: Coby has a very clear, singular vision, while I create art through consensus. I want to make a statement [so I’m often asking others], “What do you think about it?” I envy Coby’s talent. But I also think not having his talent gives me a reliance on other people, which is helpful in the context of making public art.

C.K.: I know that he’ll tell me the truth about anything I come up with, and he knows that if I have to talk trash about one of his ideas, I’ll talk trash about it.

H.W.T.: As much as I’d like Coby to think like me, then he wouldn’t be him and I wouldn’t be me. We allow each other to be who we are. — N.A.

INGAR DRAGSET AND MICHAEL ELMGREEN, ARTISTS Have worked as the duo Elmgreen & Dragset on more than 90 solo shows and site-specific installations, including a 2005 replica of a Prada store near Marfa, Texas, since 1995.

A portrait of Dragset and Elmgreen smiling and standing in front of a gray background. Dragset wears a black T-shirt and Elmgreen wears a black hoodie.

From left: Dragset, 54, and Elmgreen, 62, photographed at their studio in Neukölln, Berlin, on Feb. 7, 2024.

Julia Sellmann

INGAR DRAGSET: We met at After Dark, the only gay club at the time in Copenhagen, in 1994. I was 24 and Michael was 32. I thought he looked amazing — he had this Dennis Rodman-style hair that was bleached with baroque black patterns on it. We both had big Dr. Martens boots and were much grungier than the rest of the crowd.

MICHAEL ELMGREEN: The club was a classic disco — a lot of blown-out hair and Gloria Gaynor. It wasn’t difficult to spot each other.

I.D.: We got more than a little tipsy. When we both started to walk home, we realized that we lived not only in the same neighborhood but in the same building. That was the beginning of our 10-year romantic relationship. The artistic collaboration started eight months later, a little bit by accident. I was doing theater at the time.

M.E.: I was writing poetry and experimenting with texts that would morph in front of people’s eyes on IBM computers. To my surprise, I was considered a visual artist.

I.D.: Michael got invited to do an exhibition in Stockholm. He had the idea of creating abstract pets that people could cuddle, but he didn’t know how to make them. And I said, “Well, I’m good at knitting.” So that’s how the collaboration started.

M.E.: The Swedes are, as we know, a bit stiff; they were terrified about interacting with the artwork. So we were sitting in [opposite] corners with these knitted pets, cuddling them, and people thought it was a performance.

I.D.: That accidental performance inspired us to do more. The next one was a piece where I was furiously knitting at one end of a very long white cloth while Michael was unraveling everything from the other end. That should tell you a bit about our partnership.

M.E.: When we were coupled, we were almost the same size in clothes, so we even shared socks, we shared bank accounts, all our friends.

I.D.: We had one email account, one cellphone.

M.E.: Starting a new chapter after we split up was like meeting again, workwise. We had separate lives for some hours of the day. Suddenly, you could bring in exciting things that the other hadn’t experienced.

I.D.: It was a very difficult time. We put most things on hold, but we had one exhibition that would’ve been hard to cancel: a solo show at Tate Modern [in London]. In a big room with a window overlooking the Thames, we added another windowpane and, in between the panes, we had an animatronic but very realistic-looking sparrow that seemed to be gasping for life and flapping its wings, and nobody could help it.

M.E.: I think the beauty of it all was that we dared to stop being boyfriends because we knew we wouldn’t lose each other. Today, it’d be impossible to say who came up with what idea. It’s not two half authorships. It’s like this imaginary third persona in between us that we feed — an invisible genius kid who’s much, much younger, brighter and more charming than either of us. He’s creating the artworks. — J.H.

BOBBI SALVÖR MENUEZ, ACTOR, AND MICHAEL BAILEY-GATES, ARTIST Have collaborated on dozens of performances and photography projects throughout their decade-long friendship.

A portrait of Bobbi Salvör Menuez and Michael Bailey-Gates against a gray background.

From left: Menuez, 30, and Bailey-Gates, 30, photographed at Smashbox Studios in Culver City, Calif., on Feb. 1, 2024.

BOBBI SALVÖR MENUEZ: I curated a 2014 show at [the Brooklyn exhibition space] Muddguts that was part of a series in which I invited people who didn’t always make performance work to create something in a performance context. We’d been in a group show together before and had mutual friends, and I was excited about the work I was seeing Michael make.

MICHAEL BAILEY-GATES: It was me, Bobbi and maybe two or three other people. I had this party trick of being able to talk really fast, like an auctioneer. When I said certain phrases, one of them would stand up, and another would scream at the top of their lungs or throw an object at someone.

B.S.M.: It felt like the beginning of us making things together on the fly. We both had this down-to-get-into-it energy that was well matched.

M.B.G.: We shared an urgency to make work come to life. Sometimes it’s as simple as being a body for another person. I’ve been the lead in Bobbi’s performances, and I’ve been in the background, lying on a floor covered in red paint. Performance art in New York at the time was about executing an idea without a lot of money. These days, I don’t go into a shoot thinking we’re performing, but it’s very much that: The camera is the audience looking back at us.

B.S.M.: Michael has this ability to see the kaleidoscopic possibility of someone’s self- expression. Around 2018, I was out as nonbinary to my close friends and finding my new name. I took a break from auditions and started working part-time as a substitute teacher. When a film I’d shot the year before got into [the 2019] Sundance [Film Festival], it was an invitation to step back into the spotlight. I’d shaved my head and was nervous about that formal, public coming- out moment. It just felt so cringe. I went to Los Angeles before going to Sundance and made some pictures with Michael that were only for us. Those were the first images of Bobbi that entered the world.

M.B.G.: I never want to make a picture of somebody that’s not reflective of them. I’ve chosen in my practice to always focus on a small group of friends, and those collaborations are the grounding force of my work. Without them, what would my pictures be? They’d be something less precious. — C.R.

Makeup: Zenia Jaeger at Streeters using Submission Beauty. Hair assistant: Drew Martin. Production: Resin Projects. Photo assistants: Michael Preman, Jack Buster

Humberto Leon, restaurateur and creative director

Humberto Leon rests his cheek on his hand and leans his elbow on a countertop. He is wearing a black jacket with white stripes and a white shirt.

Leon, 48, photographed at his restaurant Chifa in Los Angeles on Dec. 14, 2023.

Ryan James Caruthers

Then: The co-founder, with Carol Lim, of Opening Ceremony, the influential New York clothing store established in 2002; the co-creative director of the French fashion house Kenzo between 2011 and 2019.

Now: Co-runs three restaurants in Los Angeles — Chifa, Monarch and Arroz & Fun.

In 1975, the year I was born, my mom opened a restaurant in Lima — my mom’s from Hong Kong, my dad from Peru — and so I’ve always thought of a meal as a way to learn and to meet new people. In 2020, I’d recently quit Kenzo and sold Opening Ceremony. My sisters and brother-in-law were in the midst of changes of their own, and we’d always wanted to tell my mom’s story. So we decided to open a restaurant together in Eagle Rock, the Los Angeles neighborhood where my family first lived when we immigrated to the United States in the late ’70s. We named it Chifa, after my mom’s place in Lima, and based the menu on a similar mix of classic Peruvian dishes like lomo saltado (beef stir fry) and anticucho (meat skewers) and Chinese home cooking — though my brother-in-law, the chef John Liu, has added some of his Taiwanese family’s culinary staples, too.

Starting anything new is scary, and I didn’t have the confidence to do so until the pandemic, which gave me time to try new ideas. (I also wrote a screenplay and a script for a TV show.) I tried to channel the intuition [I’d brought to Opening Ceremony] into other fields. I realized that what I’d done with the store was ultimately about the fond memories people had of the place rather than any specific product. Food does something similar: It creates conversations and memories.

I had the same feeling when I opened the store: “Will anyone show up?” We’d built Opening Ceremony from the ground up — no ads, only word of mouth — and that experience lent itself to launching Chifa, as well as Monarch and Arroz & Fun [our second and third restaurants, which opened last year in the Arcadia and Lincoln Heights neighborhoods, respectively]. In many ways, I’m bringing the same sensibility to the restaurants that I brought to Opening Ceremony: They’re places where you can discover new things. We aren’t aiming for formality or perfection. If anything, part of the experience is dropping your fork and noticing the cool terrazzo floor or really looking at the flatware, which we made with the designer Izabel Lam. As a person who shops and eats a lot, I want to be excited, to feel that nervousness of trying something new. — M.S.

Nick Cave, musician, writer and artist

Nick Cave, wearing a shirt, tie and white jacket and sitting in a pink room in front of a tall mirror, holds a paint brush above a porcelain figure. In front of him, on the table, are paint palates, a bowl of fruit and various sculptures.

Cave, 66, photographed at his studio near his home in Brighton, England, on Jan. 29, 2024.

Then: Rose to prominence with his post-punk band the Bad Seeds, formed in Melbourne, Australia, in 1983; became one of rock’s most celebrated lyricists and performers.

Now: Makes ceramics at a studio close to his home on the south coast of England, and his first major solo show, “ The Devil — A Life ,” is on view now through May 11 at Xavier Hufkens gallery in Brussels. Will release a new record with the Bad Seeds later this year.

I learned early on that the grand designs you have in life don’t always pan out. Starting in secondary school, I wanted to be a painter. I went to art school [for university in 1976] and, to my horror, failed my second year. At the same time, my first band [the Boys Next Door, which eventually became the Birthday Party] was starting to do well in the underground scene in Melbourne. I was much more interested in painting — I did figurative work that often referenced myself — but I’d failed, so I carried on with the band.

I started making ceramics during the pandemic. I collect Victorian Staffordshire-style figurines, the sort of thing an English grandmother might have on her mantelpiece, and one day I thought, “I could make these.” I found I was really swept up by clay. I struggle hugely with writing songs — not the music, but the lyrics. They never feel good enough. Mostly it’s all doubt and despair. But I don’t think I’ve felt more pleasure than I have when pulling a piece out of the kiln and looking at something I’ve made with my hands.

At some point, I had an idea to make a devil, mostly because I wanted to paint a figure in a fiery red glaze. I made one devil and then others, and eventually they began to tell a story. In the beginning, there’s a sort of lightheartedness about this wicked little guy: In his youth, he’s embedded in the world and in love with it. But then he kills his child, and [the figures] get dark and desperate. Later, he becomes remorseful and dies a terrible death. And in the end he’s forgiven by his child.

The death of a child is obviously very important to me because two of my own children have died. [Cave’s son Arthur died in 2015 at age 15. His oldest son, Jethro, died in 2022 at age 31.] And the works were saying something very powerful to me about my unfolding situation in life, something that my songs didn’t really talk about. I found that I could look at this poor devil in a pool of tears, with his lost child extending his hand to him, as a kind of meditation on my own place in the world and find a way that I — or we or whoever — may live a life. — M.H.M.

Jordi Roca, pastry chef

In an ice cream shop with blue walls and pipes painted red and white, Jordi Roca leans on a glass countertop covering various tubs of ice cream and toppings.

Roca, 45, photographed at Rocambolesc Gelateria in Girona, Spain, on March 13, 2024.

Anna Bosch Miralpeix

Then: Joined the restaurant El Celler de Can Roca — founded in 1986 by his brothers, Joan and Josep, in Girona, Spain — in 1997, becoming head pastry chef in 2000.

Now: After starting his own gelateria chain, Rocambolesc, in Girona with his wife, Alejandra Rivas, in 2012, and being diagnosed with a rare neurological disorder four years later, opened an outpost of the gelateria in Houston in 2022 with a neurodiverse team.

When I first started to lose my voice, it didn’t have much of an effect on my creative process in the kitchen. I had to learn to interact more through gesture, but I could still speak during quieter moments. That was around 2016, when I was giving a lot of interviews. It was a period in my career when I needed to speak but, instead, was a time of introspection. Once I got the diagnosis — I have an unusual expression of spasmodic dysphonia [a neurological disorder that causes spasms in the voice box] — it meant I could finally move forward. Now I think of this as just part of who I am.

The idea to open a U.S. branch of Rocambolesc, the gelateria, which has five locations in Spain, came a year or so before this. In 2015, when we were [hosting] cooking events around the world for Celler de Can Roca, we met our business partner Ignacio Torres in Houston. He has family members with autism, and having a place that would hire people with autism and Down syndrome was part of his idea from the beginning. By the time we opened Rocambolesc in Houston in 2022, we’d already had experiences in Celler de Can Roca with team members who had neurological differences. But staffing a project with a neurodiverse team was a huge personal gamble taken by Ignacio and his wife, Isabel, to transform the stigmas around neurodivergence in the United States. The project’s really been embraced in Houston. We have staff who’ve been with us right from the beginning. Of course, my own difficulties have given me a deeper empathy with people who can’t always express themselves in the way they might like. But what I’ve learned — especially through this project — is that we all live in the same world. There’re just many ways to see it. — M.S.

Cassi Namoda, painter

Cassi Namoda leans back on a step ladder with one arm over a large painting of a woman with green outlines on an orange background. Around her, in a large space with a brick roof and plenty of pillars, various paintings are displayed.

Namoda, 35, photographed with paintings in progress at her studio in Biella, Italy, on Feb. 25, 2024.

Claudia Gori

Then: A visual artist known for her spare yet color-rich depictions of contemporary African people and landscapes who was last based in the Berkshires region of Massachusetts.

Now: Living in Biella, in the Piedmont region of northern Italy, where she’s working in a new studio and preparing to become a mother.

Biella has a beautiful, fantastical landscape — you have a backdrop of the snowcapped Alps, but there are also palm trees, beeches, pines and cypresses. It’s an easier flight to my family in Mozambique [than from the United States]. And we’re a 10-minute drive away from my husband’s family.

I found an incredible studio where I can visualize having my child and making magnificent work. The commercial art world is a masculine environment. But this is my own world. There’s a large kitchen with big windows and an amazing chef’s oven, so there can be lunches. I’ll put in a daybed because I know I need naps. There’ll be a baby corner, with a crib and maybe some safe paints. I’m really into self-preservation and embracing femininity.

My life before was very utilitarian. Some days, I’d get to the studio early and be there until 3 or 4 a.m., eating popcorn and puffing on a cigarette. The child has already forced me to have a healthier balance with work. But I have these dreams about me before [there was] this new spirit in me. It’s not a somber or sad thing, like, “Oh, I wish I was Cassi in Tambacounda, Senegal, plein-air painting in the field.” But I’m remembering that person.

I finally got into the Italian health care system, which has been a nightmare. It’s not superfriendly to foreigners. Meanwhile, I’m preparing for a solo exhibition in September and a museum show opening in December. In my head I’m like, “The baby’s coming really soon, I don’t really have a doctor, I’m still setting up my studio and I have a 53-foot-long cargo container with all of my belongings arriving on Monday!”

There are large works to start but, with this heavy belly, I can’t balance on a ladder. I might bring the canvases down to the floor and rest them on bricks. I’m visiting a softer, more romantic side. The world’s in a dark place; why not make something beautiful? I’m seeing flamingo pink and yellow and sandy tones. It’s soft and rosy. I don’t think it’s because I’m having a girl — the sex of the baby is a surprise — but that’s how I’m feeling right now. — E.L.

Jon Bon Jovi, musician and singer-songwriter

Bon Jovi, with gray hair pushed to one side, wears a leather jacket and leans his elbows on a wooden table and looks into the camera.

Bon Jovi, 62, photographed at his restaurant JBJ Soul Kitchen in Red Bank, N.J., on March 1, 2024.

Sebastian Sabal-Bruce

Then: Co-founded the rock band Bon Jovi in Sayreville, N.J., in 1983. Began experiencing vocal difficulties in 2014.

Now: Is recovering from throat surgery, a process depicted, among other things, in the docuseries “Thank You, Goodnight: The Bon Jovi Story,” out this month. Will release a new album, “Forever,” with the band in June.

My problems started about a decade ago. In 2013, we had the number one tour in the world, and I was great for 100-plus shows. But in 2014, I wasn’t really making any music, which was hard psychologically. Then some of the recordings and shows we did, especially after 2017, were challenging — my range seemed to have narrowed and it was becoming difficult to sing consistently. But none of the professionals I saw could figure it out.

In March 2022, a doctor in Philadelphia explained that one of my vocal cords was atrophying. I thought I could get my voice back in shape if I just did enough shows, so I went back on the road. But it was a struggle. Finally, that June, I had an implant put [inside the cartilage of my larynx] to bring my [vocal folds] together. There was no singing at all for the first six weeks. Then I started speech therapy. I have rehab four times a week. But I’m still not sure what to expect. Yesterday when I was rehearsing with the band, I had a rough go with the song “Limitless” from the album “2020” [released by the group that same year]. I said, “Guys, I only ever sang this song when I was broken. I don’t know how to sing it not broken.” If I had the word “lay,” I’d put an “E” on the end of it to try to push it up to pitch: “layeee.” But right after that, I popped the high notes on [our 1986 hit] “Livin’ on a Prayer.”

This new album’s much more of a collaborative record than the ones I’ve made in the past. It’s a celebration of my accepting any and all input and acts of kindness. It’s not been a good decade. It’s not been easy to not be the best guy in the band; it’s not easy to be the worst. It’s humbling but I don’t mind the humility. I just want my tools back. Yesterday, I pressed the point-of-no-return button and said yes, in theory, to a handful of possible shows abroad for the summer, the first ones since the spring of 2022. I’m not an applause junkie. I do it because I love to write a song and play it for people. If I have all my tools, it’ll be a joy. — E.L.

Grooming: Loraine Abeles

Titus Kaphar, artist

Titus Kaphar sits on an office chair in a gallery space with three large paintings of the exteriors of houses hanging on the walls.

Kaphar, 47, photographed at his studio in New Haven, Conn., on Feb. 22, 2024.

Artwork, from left: Titus Kaphar, “I Knew,” 2023 © Titus Kaphar; Titus Kaphar, “Do You Want It Back?” 2023 © Titus Kaphar; Titus Kaphar, “Some Things Can’t Be Worked Out on Canvas,” 2023 © Titus Kaphar

Then: An artist whose works, which often confront family history and the experience of being Black in America, are in the collection of the Museum of Modern Art, among other institutions.

Now: Wrote and directed his first feature-length film, “Exhibiting Forgiveness,” which premiered at Sundance in January. Paintings Kaphar made for the film (pictured above) will be shown at Gagosian in Beverly Hills in September.

“Exhibiting Forgiveness” started as a series of paintings — in particular, with one of a burning lawn mower. It didn’t take long to realize that what I was doing wasn’t best processed with paintings alone. [The film focuses on a successful artist, Tarrell, played by André Holland, who struggles to deal with the reappearance of his estranged, abusive father, La’Ron, played by John Earl Jelks, who’d force Tarrell to perform grueling manual labor as a child.] The power of painting’s often the absences: what’s not there, what’s implicit. You don’t know what happened before and you don’t know what will happen after. In film, you have an opportunity for elaboration.

I’ve tried hard not to read reviews of the film, though a friend sent me one. It was positive but what [the critic] wrote at the end, I’ll never forget. He said, “But I can’t say this film is entertaining.” [ Laughs. ] With film, some of us expect entertainment, to have a great time. And that response does frame the way we distinguish film from painting. As a painter, I don’t stand in front of [Pablo Picasso’s] “Guernica” and go, “This isn’t entertaining!” I didn’t approach filmmaking as anything different from painting. I wanted the film to be a painting in motion. The way I make decisions in the studio, about how to follow my intuition or instincts, or how to lay out a composition, was the same process I used on set. The difference is I had an extraordinary cinematographer and cast of actors to help me realize the paintings in my head.

At its essence, “Exhibiting Forgiveness” is about generational healing. I took on this project because I wanted to have a conversation with my children about the world I grew up in, which is so different from the world they’ve grown up in. And I think making the film helped resolve something within me. The revelation I had is that I can’t make my father out as the villain in my mind. He’s a victim of violence himself. And even though [he] created challenges for me, I’ve never wondered whether or not he loved me. — M.H.M.

Bárbara Sánchez-Kane, artist

Bárbara Sánchez-Kane wearing a double-breasted black jacket stands in a doorway.

Sánchez-Kane, 36, photographed at his studio (the artist uses she/her and he/him pronouns interchangeably) in Mexico City on Jan. 22, 2024.

Ana Topoleanu. Artwork, clockwise from left: Bárbara Sánchez-Kane, “La Diegada,” 2016, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Tragic Stages,” 2023, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Moctezuma’s Revenge,” 2017, performance by Sierva M, courtesy of the artist and Estudio Sánchez-Kane, photo: Karla Ximena

Then: The designer of Sánchez-Kane, the genderless clothing brand she founded in Mérida, Mexico, in 2016.

Now: An artist working with painting, sculpture and performance — while still running the label.

One of my first shows in a museum was at the Institute of Contemporary Art in Los Angeles in 2017. The curators invited me to present a collection from my fashion line that I’d shown in New York, and I said, “No, but maybe I can do a performance.” There’s a kind of freedom in making wearable sculptures because, in the end, clothing has to be ergonomic: The jacket I made with boxing gloves has an opening for your hands so you can eat a burger. But for the ICA show, I created a pair of transparent plastic pants with a metal frame that made them almost impossible to walk in. And last year, for my first New York solo exhibition, at Kurimanzutto gallery, I made a piece from 1,170 black plastic belts that was so big and heavy, I had to break it into parts to show it. I remember reading an article by the queer theorist Jack Halberstam on the work of the artist Gordon Matta-Clark, who would [create] windows in structures where they shouldn’t be. For me, the work is like that: opening windows that give you a different way of seeing what’s in front of you.

I started as an industrial engineer first and then became a fashion designer, but I’ve come to realize that it doesn’t matter what you’ve studied or haven’t. When I feel like the worst sculptor, I think, “Well, at least I’m a good designer.” And when I feel like a great sculptor, I might look at [the clothes in my studio] and think, “Those terrible [expletive] trousers!” Expanding into other fields is a way to embrace yourself. All we have is our imagination, which allows us to create things: objects, garments, skins that we wear when we go out into the world. I’m not saying they’ll save us, but maybe they can help us navigate the transition to another universe. — M.S.

Miguel Adrover, 58, Calonge, Majorca

A black-and-white portrait of Miguel Adrover with a feather in his hair wearing a black suit jacket.

The former fashion designer Miguel Adrover, now a full-time photographer, photographed at home on Majorca, Spain, on Jan. 8, 2024.

The provocative Spanish fashion designer, who had a New York-based clothing line, put a sheep on the runway and made a coat out of the ticking from the gay icon Quentin Crisp’s discarded mattress. He left the industry over a decade ago.

I started my own line in 1999 in New York, where I had been living in the East Village since 1991, and shut it down in 2005 and left the city. In 2012, I [returned] to present one runway show, which I called Out of My Mind. It was made up of personal garments I’d repurposed. I was 46.

I’d been trying to find a way out of this unsustainable industry, this imaginary fantasy that fashion creates. My collections dealt with social justice, environmental consciousness and diversity before those topics became mainstream, and some seasons I didn’t sell anything. I never had a sugar daddy, and I invested everything I made back into the company.

I miss New York a lot. I’m homesick for it, but it isn’t the same city, and fashion is very different, too — it feels inauthentic and disconnected from reality. When I was doing consulting and research for Alexander McQueen [in the mid-90s], we had no money. But the energy was amazing. When you don’t have money, that’s when you’re most creative. Now all of these big companies have so much money that it feels like a different world. [Still] I’d love to have the chance to put on one last presentation, one last show to express how I feel today and how I see the world right now.

When I left New York, I decided to come to Majorca, where my parents have a farm. I started doing photography accidentally; I had no knowledge of cameras, every day was a process of me learning something totally on my own. There was a 300-year-old well on the property with no water inside, and I realized it could be my studio. It’s kind of like a basement; light comes from a little window high above. It reminds me of my apartment in New York. It’s where I develop my [projects]. I use things that surround me: tulips and rose bushes, fruit trees, a tropical garden, chickens.

When I got here, I didn’t have a team [as I did in fashion], and one of the challenges was being surrounded by people who don’t care about what I did or what I’m doing. Photography was the ideal thing to do because I don’t need anybody, I can do it on my own. I don’t have any models; I started working with mannequins and, for many years, I collected them on eBay or from secondhand stores on the island. [I decided] I’d rather not use models — when you photograph human beings, they’re pretending or acting, and I was running away from that.

It’s been nine years since I found photography, and I’m really happy. I have a monograph coming out later this year. The photographs are like my biography. I’ve developed my style in photography and I have a creative language. Fashion was the platform I once used, but the soul inside me is the same. — interview by J.W.

Ralph Ellison, writer, circa 1913-94

Ralph Ellison sits in front of an a typewriter under an awning writing.

Ralph Ellison, the author of the 1952 novel “Invisible Man,” in June 1957 during his fellowship at the American Academy in Rome.

James Whitmore/The Life Picture Collection/Shutterstock

Ralph Ellison spent seven years writing his only completed novel, “Invisible Man,” and its publication in 1952, when he was in his late 30s, not only catapulted him to literary fame but made him nothing less than a spokesperson for postwar America. His contemporary Norman Mailer would write of him that at his best, “He writes so perfectly that one can never forget the experience of reading him.” “Invisible Man,” a surreal picaresque that follows an unnamed Black protagonist — “a man of substance, of flesh and bone,” Ellison writes — as he travels through a country full of people who “refuse to see me,” is a book of such remarkable confidence that Ellison’s career, in later years, became mired in questions of what next? Ellison, a prolific writer of essays, reviews and criticism, worked for years on a follow-up, suffering one setback when a 1967 house fire destroyed portions of his manuscript. When he died in 1994, he left behind thousands of pages of drafts, fragments and unfinished tangents. Ellison’s literary executor and longtime friend, John F. Callahan, tried to edit the material down into a “single, coherent narrative,” as he put it, and published the result, called “Juneteenth,” in 1999; the New York Times critic Michiko Kakutani called it “disappointingly provisional and incomplete.” Ellison often struggled with writing. He once likened his second novel to a “bad case of constipation” and, in a 1958 letter to his friend the author Saul Bellow, Ellison wrote, “I’ve got a natural writer’s block as big as the Ritz and as stubborn as a grease spot on a gabardine suit.” — M.H.M.

Charles Laughton, actor and director, 1899-1962

Charles Laughton sits in a director's chair wearing a straw hat with a girl looking through a viewfinder in his lap.

The actor turned director Charles Laughton with the actress Sally Jane Bruce on the set of “The Night of the Hunter” (1955).

Everett Collection

Born in the last year of the 19th century, Charles Laughton left his family’s successful hotel business at the age of 26 to study acting at the Royal Academy of Arts in London. What he lacked in movie star looks — the critic J. Hoberman described him as “coarse-featured, overweight and slovenly” — he made up for in talent. Following a successful stage career in London’s West End, he turned to film, making a name for himself as a versatile character actor in the 1930s and ’40s. In 1955, at the age of 55, he made his most indelible contribution to his craft, directing “The Night of the Hunter,” a film noir so dark it easily passes today as horror. (William Friedkin, the director of 1973’s “The Exorcist,” described it as “one of the scariest films ever made.”) Robert Mitchum plays a terrifying ex-convict posing as a preacher and stalking the children of his former cellmate in order to find a hidden fortune. While casting Lillian Gish in the role of the children’s caretaker, Laughton told the actress about his disappointment in audiences’ lack of attention for movies, how they “slump down with their heads back, or eat candy and popcorn. I want them to sit up straight again,” he said. Though now often ranked among the greatest American movies, “The Night of the Hunter” — released just a few years before Alfred Hitchcock’s “Psycho” (1960) made the psychological thriller into a marketable genre — was a commercial flop. Reviews were mixed; The New York Times’s Bosley Crowther called it “a weird and intriguing endeavor.” Years later, Terry Sanders, a second-unit director of the film, wrote that “the rejection by critics and the indifference of audiences hit [Laughton] hard and crushed his spirit. It wasn’t just disappointment he felt, it was utter and deeply debilitating devastation.” He never directed a second movie. — M.H.M.

Willis Alan Ramsey, 73, Loveland, Colo.

Willis Alan Ramsey stands with his hands behind his back wearing a cowboy hat.

The singer-songwriter Willis Alan Ramsey, photographed at Sam’s Town Point bar in Austin, Texas, on March 14, 2024.

Caleb Santiago Alvarado

The singer-songwriter Willis Alan Ramsey, originally from Alabama, released his self-titled debut album in 1972, becoming a forebear of the alt-country genre. Jimmy Buffett and Lyle Lovett became devoted fans. More than 50 years later, Ramsey still hasn’t completed his second album.

I started trying to write songs around 1968. My first song was just awful, but I got better over time. I dropped out of college twice, the second time in 1970, from the University of Texas [at Austin], after discovering a folk club where I became an opening act for $5 a night. Those were golden, halcyon days in Austin filled with sunshine and margaritas and very little traffic. That fall, I left to begin performing at colleges around the country. I was briefly back in Austin to play at U.T. and, somehow, during two days there, I’d managed to play for Gregg Allman and Leon Russell, two of the most influential musicians of that decade. They both gave me their cards and said to look them up if I ever made it their way. [I went to Los Angeles] and recorded a demo at Skyhill, Leon’s personal home studio, and he basically offered me the moon to sign with his new label, Shelter Records [which folded in 1981]. I’d just turned 20. Over the next year, I recorded my first and only album to ever be released [“Willis Alan Ramsey,” often known as the Green Album for its green cover].

I finished the record when I was 21. I was just a kid. Leon gave me my career, to the extent that I’ve had one [but the reason I never released another record was also] Leon’s fault. He told me that if I signed with Shelter, he’d show me the studio and how it worked, and he did. I immediately wanted to learn everything I could about the recording process. I used seven studios and three rhythm sections [to make the record]. I was given carte blanche. The budget was 85 grand. I could do it for 200 grand [now], but I can’t do it any cheaper. I’d need to rehearse every musician. And my songs are all over the place. I get bored doing one particular style.

I’m the most frustrated recording artist you’ve probably ever met in your life. But I still feel I’ll figure something out. I’ve always been optimistic. I’ve got at least three more records of material. I’m pretty tough on myself in terms of writing, and I’m very attached to what I’ve written. I just haven’t been able to get a deal that’d work for me. I mean, the world works, you know? I think the key is just to work with the world. — interview by M.H.M.

Photo assistant: Sergio Flores

Harper Lee, writer, 1926-2016

A portrait of Harper Lee sitting on a rocking chair on a porch smoking a cigarette.

The writer Harper Lee in her hometown, Monroeville, Ala., in 1961, the same year that her debut novel, “To Kill a Mockingbird,” won the Pulitzer Prize.

Donald Uhrbrock/Getty Images

“I sort of hoped someone would like it well enough to give me encouragement,” Harper Lee said in a 1964 radio interview, describing her low expectations for her 1960 debut, “To Kill a Mockingbird.” Instead, her novel, about a lawyer in the fictional town of Maycomb, Ala. (a stand-in for the writer’s hometown, Monroeville), who defends a Black man from a false accusation of rape by a white woman, became one of the biggest literary sensations of its era. Lee, who worked as an airline reservations agent in New York for a few years before quitting (with friends’ financial support) to work on her writing, won the Pulitzer Prize in 1961; two years later, a film adaptation starring Gregory Peck won three Academy Awards. “To Kill a Mockingbird” would go on to sell tens of millions of copies and become a fixture of high school English classes.

Lee had a hard time with her sudden fame. After that radio interview in 1964, she mostly avoided the press and, as the years and decades passed without a second novel, Lee continued to guard her privacy, albeit regularly attending the Methodist Church in Monroeville and occasionally visiting the local high school during lessons about her work. The year before she died at age 89 in 2016, a previously unknown novel, “Go Set a Watchman,” which had been written before “To Kill a Mockingbird,” appeared to tepid reviews and claims that Lee, by then largely deaf and blind following a stroke, had been manipulated into releasing subpar work. Controversy aside, even just the announcement of a lost novel reignited interest in Lee’s lone masterpiece; at that point, sales of “To Kill a Mockingbird” in trade paperback nearly tripled. — M.H.M.

Luc Tuymans, 65, visual artist

A drawing of a van driving down the street as two people in aprons collect trash cans.

Luc Tuymans, “Mijn Grote Vakantie” (1967).

Courtesy of the artist and David Zwirner. Photo: Alex Salinas

When I was 7 or 8, we had to make drawings for school about our summer holidays. I was completely intrigued by the people gathering the garbage outside of our house in Antwerp [Belgium] — their truck, their dress code. During a summer day, I took out my colored pencils. I wrote underneath the drawing, “My Big Vacation.”

It came across as fairly cynical: My big vacation was garbage. It wasn’t meant that way. I really was intrigued by this operation. [Looking at it now] I’m amazed that there’s this perspective already in it. The teacher didn’t believe I made the drawing and took me by the ear to the blackboard to do it again in front of the class.

I’d been bullied a lot as a kid. I was extremely shy. Drawing was a way out, in a sense. I’d draw people who came to visit my parents and, at the end of the year, when exams were done, I’d make drawings for the whole class — whatever they wanted. I always had a ballpoint pen and a piece of paper with me, and people would gather around me while I was drawing, sometimes 20 to 30 of them. The kids were happy to have a drawing, but it didn’t really change the bullying pattern.

I saved most of my [childhood] drawings and gave them to my nephew. Unluckily, he lost them. This is virtually the only one that survived, and I gave it to my wife as a present.

It’s quite interesting to see the size of things — the difference between the houses and the people — and most of all, the idea of space that was already in the drawing. [If I were to redraw this today] it’d be a bit more meticulous, more worked out. But it’s an indication of things that would come later. My skepticism is embedded in this drawing without my doing that consciously — this quite specific, sardonic sense of humor. When I found it again, I had to laugh very, very hard. — J.H.

Do Ho Suh, 62, visual artist

Do Ho Suh, “Tiger Mask” (1971).

This drawing is based on a Japanese anime character, Tiger Mask, that was really popular in the ’70s. Back in those days, Korean TV broadcast Japanese anime in black and white. Everybody at school watched. The character is a pro wrestler who puts on a tiger mask to disguise his identity. I drew the mask directly from the anime. I was probably 9.

Once my friends saw it, they all wanted one. Demand for tiger masks became much greater than supply. Some of the rich kids wanted to trade their Japanese pencils — which had graphics or custom characters on the surface — and colorful erasers for a drawing. My parents couldn’t afford those things, and they weren’t available in Korea. The kids’ parents must have traveled to Japan, which was quite rare back then, and brought them back. [Eventually] I had a box full of those pencils, but I didn’t have the guts to actually use them. The pencils are untouched; the erasers are dried out. For some reason, my mom kept them all these years. — J.H.

Niki Nakayama, 49, chef and Restaurant owner

Tonkatsu is a Japanese home-style staple. It’s a breaded, deep-fried pork cutlet — “ton” means “pork” and “katsu” is a sort of translation of “cutlet” — and it was my absolute favorite food when I was a kid. When my mom made tonkatsu, she’d have my sister and me do the breading, and we really bonded over that. It helped me understand family. We’d set up in the dining room and dredge the cutlets in flour, dip them into the egg wash, cover them with dried breadcrumbs and stack them high on paper plates that we’d bring in to my mother to fry up. Our kitchen had high countertops, and I can remember her standing at the stove in these three-inch platform clogs she’d wear to be a little taller.

I loved seeing how something became something else — it felt like unraveling magic. One day when I was about 9, I came home from school and got the brilliant idea to make my own [but with chicken]. I grabbed some drumsticks from the freezer, did the breading and, while standing on a stool, dipped them in hot oil. (I never admitted this to my mom.) When they turned the color they were supposed to, I was so proud. I bit into one and it was still frozen. That was my first shock of “I can’t believe I didn’t make [this thing] the way I imagined it would be.”

Anytime I was in Japan, especially in my 20s, my friends there would ask what subarashii gochiso, or “the best thing one could possibly eat,” was for me. I’d say tonkatsu, and they’d be like, “What?!,” because it’s such a simple dish — it was like asking for a sandwich. It isn’t the sort of thing I specialize in at my restaurant [N/Naka in Los Angeles], and I don’t have it often anymore because, as I age, I’m trying to eat lighter, but I still associate it with deliciousness and with happiness. Ever since childhood, I’ve thought of food as being about coming together and cooking as an expression of care and love. Having been on the receiving end of that, I do the work that I do to try to make people happy. — K.G.

Marina Abramović, 77, performance artist

A painting of two vehicles crashing into each other.

Marina Abramović, “Truck Accident (I)” (1963).

When I was a teenager in Communist Yugoslavia, there were these ugly green trucks that weighed so much, they often fell over. I started taking photographs of them and trying to paint them at home. But that wasn’t enough for me, so I bought some toy cars and left them on the highway to see if the real trucks would smash them; they were always untouched. I was fascinated by car crashes. Then when I was 17 or 18 years old, I painted the big car smashed and the little car protected — the idea that innocence survives everything.

My mother studied art history, and I was always going to museums. When I was a baby, my first words weren’t “mama” or “papa”; they were “El Greco.” I had my first exhibition at a youth center when I was 14. They mostly had group shows, but I made so much work that I had my own show. I always say I was jealous of Mozart because he started at 5.

I didn’t know then that painting wasn’t my ultimate goal. It takes a long time to realize who you are. I remember the incredible joy of going into my studio — an extra space in my family’s apartment — with my little cup of Turkish coffee. I would be so much in the dream of painting that I’d accidentally drink turpentine instead of the coffee.

Though I wasn’t aware of it [until recently], this crash represents the energy that I’d create in my early performances: two bodies running toward each other, crashing into each other and making this blurry image. My research today is about the body and how to create a field in which you aren’t afraid of pain, of dying, of limits. When you’re young, you don’t see the straight line but, [looking back] it all seems so logical. — J.H.

Deborah Roberts, 61, visual artist

A drawing of a boy resting his chin on his knee.

Deborah Roberts, “James” (1982).

Courtesy of the artist

I used to do a lot of drawings of people at church or kids in the neighborhood. I made this when I was 19, of this boy who came by to play with my brothers. My mother threw most of my drawings away. She had eight children; she couldn’t have all that stuff piling up.

[With that many siblings] you only get attention when you’re sick. But I got a lot of attention for drawing. I was the best artist in my school. The teacher would ask me, “What grade would you want?” I’d say, “I want an A+.” I had a big head. Then I went to the gifted and talented program with high school art students from all over Austin, Texas. I wasn’t the best anymore, but it just made me work harder. That’s where I was first introduced to the work of Henry Ossawa Tanner [one of the first African American painters to achieve international fame, in the early 20th century]. I didn’t even know there were Black artists. We didn’t have the internet or access to museums. We were poor.

I’d ride a small yellow bus to a community college to meet in a special room for the three-hour art class. Eventually, I became the best student in that class, at least in my head. They didn’t ask me what grade I wanted, but I still got an A.

If I were doing it now, I’d blend that hair into the wood better. I wouldn’t have light sources coming from two different areas. But if you look at my collages today, my whole idea’s about seeing people as humans, as children, as vulnerable. I think this is a very vulnerable piece. — J.H.

David Henry Hwang, 66, playwright

David Henry Hwang, manuscript of “Only Three Generations” (1968).

Courtesy of David Henry Hwang. Photo: Lance Brewer

I was about 10 years old, and my maternal grandmother got sick and it looked like she might be close to the end. I remember feeling that that’d be quite tragic — not only would I lose my grandmother but she also happened to be the family historian. I was one of those kids who, for whatever reason, was always really interested in hearing about family history.

I was born and raised in Los Angeles, but my mom grew up in the Philippines, where my maternal grandparents still lived, so I asked my parents if I could spend a summer there. I went and collected what we’d now call oral histories from my grandmother on cassette tapes, then came back and compiled them into a 60-page family history, “Only Three Generations,” which was [photocopied] and distributed to my family members. Then in the early aughts, someone — my uncle, I think — went and printed two or three dozen copies as a bound version.

I wasn’t someone who felt [that] writing was my calling. I didn’t do another major writing project until I got to college and started writing plays, so I find it interesting that the one time I took on [something] like this was to contextualize myself in a historical framework. That’s consistent with what I’ve done as an adult: sometimes being at sea about who I am and looking at history to gain a sense of self.

The [history] starts with my great-great-grandfather, then the second [part]’s about my great-grandfather and then the third section’s about my grandmother’s generation. I [used] their real names. I think I was trying to be fairly accurate, as opposed to when it later became the basis of my [1996] play “Golden Child.” There’s a lot more liberty taken there. When we did the play on Broadway, my grandmother was still alive and came to see the show. She was supportive of it, but I feel like she liked this version better. — J.A.R.

Ice Spice, wearing a black dress and heels, leans back in a beanbag chair.

Ice Spice wears a Balenciaga jacket, $2,150, balenciaga.com; Norma Kamali dress, $350, normakamali.com; Graff cross necklace, $14,000, graff.com; Alexander McQueen shoes, $1,150, alexandermcqueen.com; stylist’s own tights; and her own jewelry. Photographed at a private home in Los Angeles on Feb. 6, 2024.

Photograph by Shikeith. Styled by Ian Bradley

Name: Ice Spice Profession: Rapper Age: 24

Debuting in: Her first full-length album, “Y2K,” titled after her birth date — Jan. 1, 2000 — which comes out this year.

What she’s excited about: “Going on tour. I can’t wait to see my fans up close and personal and really interact with them — interacting with fans online can be a little overwhelming. All their profile pictures are of me. It feels like a bunch of me’s talking back: It’s weird. Especially when it’s pictures I’ve never seen or don’t remember.”

What she’s nervous about: “I don’t even want to put out that energy. People don’t need to know what I’m nervous about.”

How she works in the studio: “If I was already dressed up and cute, that’d produce a different vibe — but for the most part I like to be really comfortable. I need inspiration around me, too, so I’ll have stacks of money sitting next to the mic. Or I have a bunch of stickers of, like, boobs and butts, stuff like that. They’re drawings, though — I don’t just have porn in my studio.”

How it’s gotten easier since making her EP: “When I was working on [2023’s] ‘Like ..?,’ I was stressed out because I had no idea how the next song was going to come out. Each time, I was like, ‘How am I going to make another song that’s good?’ But then it happened, and then it happened again and again so, after that, I was like, ‘OK, making music is really fun.’ As long as I’m having fun, it’s going to sound fun — and I’m going to be happy with it.” — J.A.R.

Production: Resin Projects. Makeup: Karina Milan at the Wall Group

Mia Katigbak leans forward with her left leg in the air holding a railing with both hands.

Katigbak, photographed at Lincoln Center Theater in Manhattan on Feb. 2, 2024.

Jennifer Livingston

Name: Mia Katigbak Profession: Actress and co-founder of NAATCO Age: 69

Debuting in: Lincoln Center Theater’s revival of Anton Chekhov’s “Uncle Vanya” (1899), opening this month.

What she’s excited about: “My character, Marina [the central family’s maid], infantilizes everyone. Everything is falling apart around her, but she’s like, ‘Aren’t the old ways better?’ There are a lot of possibilities in that — without getting too metaphorical about the state of Russia, politically and socially.”

What she’s nervous about: “There’s always going to be that common nervousness of ‘I’m going to mess up,’ but somebody brought to my attention that NAATCO [the National Asian American Theatre Company, which was founded in 1989] has done quite a lot of Chekhov; I didn’t even realize it, and I chose all of them. What I find fabulous about Chekhov is that there are sad situations but also human comedy. You have to find the funny if you’re in dire straits, otherwise you’ll slit your wrists.”

How she feels about having her Broadway debut after five decades on the New York stage: “You live long enough, [expletive] happens. I’d kind of figured, ‘Maybe I’m not Broadway material.’ Usually, when Asians get cast, it’s a musical, and I’m not a singer-dancer, so it was never necessarily going to be a goal. I’m a little bit more realistic: I recently got a text [with a photo of the ‘Uncle Vanya’ ad] from a colleague who said, ‘Look at Miss Fancy Pants,’ and I’m like, ‘I’m just a working stiff.’”

How she reinterprets classics: “From the get-go, the point of NAATCO was to ask people to open their vistas in terms of ‘how, what, by whom, for whom’ in theater. We tackled the Western classics first — William Shakespeare’s ‘A Midsummer Night’s Dream’ (1600) and Thornton Wilder’s ‘Our Town’ (1938) — and my only caveat was not to change them to Asian settings. I remember the first couple of years, maybe decades, people always used to ask, ‘Oh, you’re doing Shakespeare! Are you going to set it in Japan?’ Which isn’t bad, but it’s not the only way to do it. Reception was mixed; there was criticism from both Asian and non-Asian audiences. When we started to do new work — with Michael Golamco’s ‘Cowboy Versus Samurai’ in 2005 — it became a redefinition of what immigrant stories were. Most of the time, the work’s thought of as only one thing, so that was something to figure out. But you can say that about all good theater: It’s asking you to receive something in a different way.” — J.A.R.

Arielle Smith stands with her hands behind her back in the corner of a dance studio.

Smith, photographed at Rambert School of Ballet and Contemporary Dance in the London suburb of Twickenham on Feb. 14, 2024.

Andrea Urbez

Name: Arielle Smith Profession: Choreographer Age: 27

Debuting in: A reimagined “Carmen,” based on the French writer Prosper Mérimée’s 1845 novella about a Roma woman in southern Spain, which Smith has set instead in Cuba for the version (of the same name) she’s choreographing that premieres at San Francisco Ballet this month.

What she’s excited about: “As a performer, I trained in classical ballet but then went into contemporary dance — the reason I fell out of love with ballet was that the female roles didn’t feel empowering. Not that I needed to be empowered all the time, but every story was dictated by the relationship a woman has to a man. So when Tamara [Rojo, the company’s artistic director] approached me, my first thought was, ‘How could we justify another “Carmen”?’ I wondered how the story would change if one of her lovers was a woman. Musically it’s also not the same — we’ve got a new score from the Mexican Cuban composer Arturo O’Farrill [departing from the French composer Georges Bizet’s 1875 opera], so it’s quite a leap from where it was birthed.”

What she’s nervous about: “I don’t see the point in telling a story again the same way, so that’s one element I’m not nervous about ... but I’m about everything else. The challenge is trying to tell an intimate story in a big space. To make this piece well, it has to move people in some way, and that’s what I’m anxious to get across — for people to feel something.”

How she’s translating the Spanish-set story to Cuba: “Bizet wasn’t Spanish, [so] I thought it’d be more interesting to mainly hear Cuban sounds. I’m Cuban; Tamara’s Spanish; and [the Uruguayan fashion designer] Gabriela Hearst is our costume designer. It’s a full Latinx team, but we’re all different. And this is a universal story that’s not driven by geography. It’s not set on a certain road in Havana but in the soul of these people. I’m not trying to overly examine Cuba. It’s about who I am, as a person who happens to be Cuban, and what my voice contributes.” — J.A.R.

Photo assistant: Callum Su

Pidgeon, photographed at Playwrights Horizons in Manhattan on March 10, 2024.

Sean Donnola

Name: Sarah Pidgeon Profession: Actor Age: 27

Debuting in: “Stereophonic,” a new play by David Adjmi with music by Will Butler (formerly of the indie-rock band Arcade Fire), which transfers to Broadway this month following a run at Playwrights Horizons, where it premiered last fall — that production was Pidgeon’s New York stage debut.

What she’s excited about: “This story [about a fictional band’s interpersonal struggles while recording an album in the 1970s] talks about relationships and what one has to sacrifice to make art. New York’s full of artists, and I’m excited to hear what types of conversations people have after seeing the show.”

What she’s nervous about: “The transition to the Golden Theatre. Singing’s so vulnerable. It’s one thing to mess up in front of 200 people, another to mess up in front of four times that many. Off Broadway, we’d have instruments [accidentally] break down halfway through a scene, and we’d have to figure out how to make it feel authentic.”

How she created her character, Diana, one of the band’s lead singers: “Diana’s not looking to other people to give her an example — she’s not following some blueprint. Her band’s waiting for her to make that next great song, and she gets commodified really fast. I can’t say the same for myself, but I’m [also not dealing with being] a woman in [rock in] the 1970s.”

How she settled into the three-hour play’s slowed-down, naturalistic rhythms: “Our director, Daniel Aukin, kept talking about a documentary feel. I think the design of the play — of hearing overlapping conversations — is [very] fly-on-the-wall. Because of its realism, it can evoke the feeling of a film. There’s this sense that it’s not necessarily a performance when we’re doing these shows; it’s not showy. It’s this thrill of being able to keep things private while also recognizing there’re people in the audience two feet away from you. As an actor, you really feel the tension.” — J.A.R.

Hair: Tsuki at Streeters. Makeup: Monica Alvarez at See Management

Olujobi (third from left), at the Public Theater in Manhattan on March 9, 2024, along with (from left) the “Jordans” actor Naomi Lorrain, the director Whitney White and the actors Brontë England-Nelson, Kate Walsh, Ryan Spahn, Toby Onwumere, Meg Steedle, Matthew Russell and Brian Muller.

Video by David Chow

Name: Ife Olujobi Profession: Playwright Age: 29

Debuting in: “Jordans,” her first fully staged production, opening this month at New York’s Public Theater under the direction of Whitney White. The play is about a 20-something woman named Jordan (Naomi Lorrain), the only Black employee at a creative studio, whose office life is upended when her boss hires another Jordan (Toby Onwumere), who’s also Black, to be the company’s director of culture.

What she’s excited about: “For a while, this was that play everybody thought was great but nobody wanted to produce. I thought it’d just be a thing that ends up on the page: It’s such a crazy, visual play that lives in this imaginative space, with a lot of production elements. I’m excited to bring that to life — and have it be people’s introduction to me.”

What she’s nervous about: “Making a play that feels current — in the sense that I started writing it in 2018, did the first reading in 2019 and now we’re in 2024. The play addresses the idea of bringing people of color into a [professional] situation as a trend, not out of any genuine interest in them. It has to do with quote-unquote diversity in the workplace, and it feels like we’ve gone through three different cycles of that conversation since I started writing it. I’m trying to synthesize everything that we’ve been through in the past six years but not feel like I’m shaping the play to respond to these fluctuations.”

How she found her way to playwriting: “I was in the Public’s Emerging Writers Group in 2018, which was my introduction to theater. I was never a theater kid; film was my first love — I’d worked at the Criterion Collection during school and done my thesis in screenwriting. When I graduated [from New York University], I [only] wrote a play to get into the [playwriting] group. I had this experience of being fired three times in a row [after] graduation and felt like I had to express something about being the only Black person entering professional spaces.”

How the play’s surrealist tone came to be: “The main character gets coffee poured on her face in the first scene. For me, that was a big breaking open of the play: ‘This is the kind of world that she’s living in. What else can happen in this world?’ It has what we might call surreal elements, but I don’t always think about it that way because, within this play, everything is real. It’s not a dream.” — J.A.R.

Photo assistant: Serena Nappa. Digital tech: Zachary Smith. Production: Shay Johnson Studio

Kim, photographed at his restaurant, Noksu, in Manhattan on Jan. 15, 2024.

Daniel Terna

Name: Dae Kim Profession: Chef Age: 28

Debuting in: Noksu, the 14-seat tasting counter he’s run since last October below ground in Manhattan’s Herald Square, where he serves Korean-inflected dishes, including grilled mackerel with brown butter and squab with gochujang agrodolce.

What he’s excited about: “I had a feeling, during the pandemic, that something might change — like everyone had to start [again] from zero. Even three-star sous-chefs changed careers: They’ve stopped working in restaurants; they’re selling truffles or doing kitchen shows or TikToks. There was a gap, and I thought if I played up my Asian heritage and my French cooking background, someone would be looking for that. Then I met [the restaurant’s] owners, and they offered me this space in a Koreatown subway station.”

What he’s nervous about: “With restaurants, you prove yourself every day. There’s no tomorrow, no next week. I knew I had to have a tasting menu: I have a personal goal — I’m not telling anyone what it is — and, to reach that level, I think it can only be a tasting menu. I’m not enjoying cooking that much; it’s not a passion. This is my career. I don’t cook at home but, if I think about that goal, it makes me come to the restaurant.”

What he took from working at the New York restaurants Per Se and Silver Apricot: “I really thought, ‘What kind of person am I? What kind of cook? What’s my individualism?’ Working in fine dining is such an honor, but it’s their food. It’s not me. I started focusing on food that would represent who I was.”

How he’s handling everyone’s dietary restrictions: “Right now, we don’t accommodate, because we’re a small kitchen. But sometimes they can push you: If a guest can’t eat dairy, how do you make that sauce creamy without using milk? It requires more work, more thought, more team effort. It’s happened a couple of times, and we just freestyle.” — J.A.R.

Tyla wears an Alexander McQueen jacket $5,990, and shorts, $1,690, alexandermcqueen.com; and Prada shoes, $1,120, prada.com. Photographed at Issue Studio in Los Angeles on March 16, 2024.

Photograph by Shikeith. Styled by Sasha Kelly

Name: Tyla Profession: Singer-songwriter Age: 22

Debuting in: Her first full-length album, “Tyla,” released last month. It’s the product of more than two years of collaboration with writers and producers from around the world — and her first time traveling outside of South Africa (she grew up in Johannesburg). Together, they refined her sound, which she describes as “music that people can dance to: Afrobeats, pop, R&B and amapiano,” the last of which is syncopated electronic music that originated in South Africa in the 2010s.

What she’s excited about: “My first tour. My creative director, Thato Nzimande, and I have been speaking about this forever. I have Coachella coming up and, after sitting for so long with this music and all these ideas, I’m excited to see people’s reactions.”

What she’s nervous about: “I used to be very nervous about performing because all of this is very new and, once something’s on the internet, it’s saved forever. I don’t want to look at it years from now and be cringing . I’m a perfectionist but, as an artist, you’re never going to be happy with everything all the time. That’s something I had to learn — how to let go.”

How she synthesizes South African and American influences: “I love the sound of amapiano production, with the log drum and the shakers and the drops. But I’ve also always wanted to be a chart-topper like Michael Jackson and Britney Spears and now SZA, except I wanted to do it with my sound [her first hit, “Water,” debuted on the Billboard Hot 100 in October]. Obviously, people believe, ‘Oh, I have to make just pop.’ But that’s boring to me. I want to sell what I know and love.”

Why South African music has global appeal: “People say they can feel it, and that’s cool because we feel it. It’s very spiritual to us; it’s a genre we feel in our bodies. All these amapiano dance moves that everyone does, it’s not even dancers that come up with these moves — it’s just random people, drunk uncles in the corners of clubs. It’s organic, and I think people are looking for that genuine vibe.” — E.L.

Production: Shay Johnson Studio. Hair: Christina “Tina” Trammell. Makeup: Jamal Scott for YSL Beauty

Peck (near center, in a black shirt), photographed at the Park Avenue Armory in Manhattan on Feb. 27, 2024, along with (top row, from left) the “Illinoise” musicians Kathy Halvorson and Jessica Tsang, the dancer Craig Salstein, the musician Brett Parnell, the dancers Byron Tittle and Christine Flores, the musician Kyra Sims, the dancer Robbie Fairchild, the musician Daniel Freedman, the vocalist Shara Nova, the music arranger and orchestrator Timo Andres and the music director Nathan Koci; (middle row, from left) the vocalist Elijah Lyons, the dancer Ahmad Simmons, the vocalist Tasha Viets-VanLear, the dancers Ricky Ubeda and Kara Chan, the writer Jackie Sibblies Drury and the associate music director Sean Peter Forte; (bottom row, from left) the musician Domenica Fossati and the dancers Jeanette Delgado, Ben Cook, Alejandro Vargas and Rachel Lockhart.

Video by Jason Schmidt

Name: Justin Peck Profession: Director and choreographer Age: 36

Debuting in: “Illinoise,” the first stage musical he’s directing, which opens this month on Broadway after a run last month at the Park Avenue Armory. Based on the singer-songwriter Sufjan Stevens’s 2005 indie-folk album, “Illinois,” the show was also conceived and choreographed by Peck, who collaborated on its narrative with the playwright Jackie Sibblies Drury.

What he’s excited about: “The ‘Illinois’ song cycle [in which every track relates to the Midwestern state] is one of the great albums of the last 20 years: [Sufjan] didn’t have a recording studio; he’d find a musician up in [New York’s] Washington Heights and record a violin part without realizing what it was going to be part of — he’d run all over, assembling [bits]. I’ve had a long collaboration with him [Peck has based six ballets on Stevens’s music, beginning with “Year of the Rabbit” for New York City Ballet in 2012], so it feels full circle, having discovered that album as a teenager.”

What he’s nervous about: “It’s not a conventional musical; it lives between genres. It’s framed as a gathering around a campfire, being intoxicated by the heat … a campfire beckons storytelling. We enter into the worlds of these people sharing stories on an evening in the wilderness. That’s a difficult thing for managing audience expectations. One of the most challenging parts is trying to tell a full story without words. There are lyrics, but even the lyrics have a sense of poetry to them. They’re not literal.”

How he brought on board his collaborator Jackie Sibblies Drury: “Sufjan was involved early in developing the musical arrangements but has been relatively hands-off [since being diagnosed with Guillain-Barré syndrome, an autoimmune disorder, last year] and wasn’t in a place where he wanted to go back to that time in his life. I needed a storytelling partner. Jackie told me how much she loved the album; when she moved to Chicago, she and her then boyfriend listened to it on the road there. A lot of these songs resonated with both of us at a coming-of-age time in our lives, and that’s part of our approach: intimate and personal.” — J.A.R.

Production: Shay Johnson Studio. Photo assistants: Shinobu Mochizuki, Tom Rauner. Digital tech: Kyle Knodell

Stella, photographed at Percy Priest Lake Park in Nashville on March 7, 2024.

Stacy Kranitz

Name: Maisy Stella Profession: Actress and singer Age: 20

Debuting in: “My Old Ass,” a coming-of-age comedy in which her character, Elliott, a young woman leaving her small Canadian hometown for college, meets her 39-year-old self, played by Aubrey Plaza, while tripping on mushrooms. In theaters this August, it’s Stella’s first movie — and her first acting project since spending much of the past decade on the TV series “Nashville” (2012-18), in which she played a country star’s singer daughter.

What she’s excited about: “Being reintroduced in a way that feels true to me. I was a baby when ‘Nashville’ started; it’s hard to have people see you as a character for so many years. You have to be careful with the next thing you do, especially after you take a break [to finish high school], and I wanted to be represented in a way that felt genuine and pushed me in the direction I wanted to go. I thought a project like this would come 10 years down the line, if ever.”

What she’s nervous about: “I think I confuse anticipation with anxiety. I just feel general anticipation all the time, whether it’s about a date this weekend or this movie coming out; it’s that feeling that something’s about to happen. In my body, I might confuse it with nerves, but there are happy and cozy feelings, as well, so it levels out.”

How she collaborated with the writer-director Megan Park on her dialogue: “I watch a lot of young adult shows and think, ‘Oh my God, we sound so dumb. We don’t talk like that.’ Not everything’s abbreviated and slang. Megan [who’s 37] knows how to write for Gen Z because she includes us in her process. She doesn’t have an ego and molds her characters to who’s playing them. We’d do scripted takes and then ‘fun runs,’ where we got to improv, and she’d add lines in the moment.”

What was it like creating the template for Plaza’s character: “You’d think Aubrey would’ve come first, but I was the first one attached to the film. In any other situation, it’d be me matching her, but I feel like Elliott is very similar to me so, when Aubrey and I met, I could feel her filming me with her eyes, trying to get a scope.” — J.A.R.

Hair and makeup: Laura Godwin

Lakota-Lynch (bottom row, in a white T-shirt), photographed at Open Jar Studios in Manhattan on Feb. 26, 2024, along with (top row, from left) the “Outsiders” composer Zach Chance, the choreographers Rick and Jeff Kuperman and the writer and composer Justin Levine; (middle row, from left) the actors Brent Comer, Jason Schmidt, Joshua Boone, Kevin William Paul and Dan Berry; (bottom row, from left) the actors Emma Pittman and Brody Grant, the director Danya Taymor, the writer Adam Rapp and the actor Daryl Tofa.

Justin French

Name: Sky Lakota-Lynch Profession: Actor Age: 32

Debuting in: “The Outsiders,” a new musical that opened this month and is based on S.E. Hinton’s 1967 novel about rival teen gangs. Lakota-Lynch plays Johnny Cade, a shy 16-year-old from an abusive home. He appeared in “Dear Evan Hansen” in 2018, but this is his first time originating a role on Broadway.

What he’s excited about: “I’ve been with the show for six years, and it finally feels fully baked. People are going to be expecting us to come out tap-dancing, but you have [the writer] Adam Rapp and [the director] Danya Taymor, and those people have never done a musical. It’s the ultimate place for an actor-singer. It’s truly a play with music [by Zach Chance and Jonathan Clay of the folk duo Jamestown Revival, and the songwriter Justin Levine], and I think it’s going to shock people.”

What he’s nervous about: “It’s going to be sad to eventually let Johnny go. I’m doing this on Broadway, but it’s like the period at the end of the sentence.”

The actor sings a snippet of James Taylor’s 1970 song “Fire and Rain.”

Video by Jordan Taylor Fuller

How he’s approaching playing a beloved character: “Johnny doesn’t have a lot of lines: He’s like an Edward Scissorhands [type] — I have to fill the space with energy. The cool thing about playing the character is that I got to imbue him with myself. I’m Native American and Black, and the story is set in Tulsa, Okla., where that’s [not uncommon]. My costume has Native American embroidery; my version of Johnny feels fully fleshed out. Of course, I stole things from Ralph [Macchio, who played the role in the 1983 Francis Ford Coppola film] and from the novel — it’s that fine line between tough and tender, but it’s tailored to me.” — J.A.R.

Production: Shay Johnson Studio. Photo assistant: Shen Williams-Cohen

Becoming a Character

The comedian and actress Meg Stalter, photographed at Smashbox Studios in Los Angeles on Jan. 24, 2024, tests a few moods in front of the camera.

Photographs by Shikeith. Styled by Delphine Danhier

The comedian and actress Meg Stalter, 33, started gaining attention on social media during the 2020 Covid-19 lockdowns when she posted absurd short-form videos playing different personae, like a Disney World team leader conducting an employee orientation. The following year, she had her TV debut on HBO’s “Hacks” as Kayla, a less than helpful assistant to a talent agent. Now she’s filming her first lead role on the new Netflix series “Too Much,” written and directed by Lena Dunham (and loosely based on Dunham’s life), in which she plays the workaholic Jessica, who responds to a breakup by moving to London.

I took so many improv classes when I first [was] doing comedy. It’s the starting point for me when I develop characters. During the pandemic, I’d do improv on Instagram Live every night. The theme would be “We’re going to Paris” or “We’re doing a women’s exercise class.” It was just me doing improv online by myself for hours. When I take on a role, I study the script and imagine if I had to improv a scene. “What would I add or take away? How’s this person different from me? What could I give to the character of my own personality?”

When I read the part of Kayla, I’d already met Paul [W. Downs, a co-creator of “Hacks”] at a stand-up show. [I found out later that] he had me in mind when he wrote the script. That was almost more nerve-racking: It was strange to think, “What if I lose this part to someone else but they were thinking of me in the first place?”

Kayla started as the assistant who comes in and says a crazy line. But in the third season of “Hacks,” she has more emotional scenes, which add another layer: When a character experiences a range of emotions, it makes the crazy stuff even funnier.

The comedian and actress tells a knock-knock joke.

At first when you get a script, you picture yourself in it and think, “Oh, well, she probably looks like me.” That changes the more you get to know the character. Lena [Dunham]’s been so open to talking through Jessica. She’ll say, “Tell me what you think about the hair,” and, “Tell me if there’re any outfits you don’t like.” She even made a playlist Jessica would listen to. There’s Avril Lavigne, Girlpool, Sabrina Carpenter. When I’m studying the script, I’ll play that in the background. Jessica’s into the dreamy side of London and Jane Austen. She’s a little girlie and wears a lot of pink. She wears [nightgowns] as actual dresses and things that’re a little bit too cute for work. I sent [the costume designer] Arielle [Cooper-Lethem] some dresses from Fashion Brand Company. They look like [they could be in an Austen adaptation] but modern and sexier. Like shirts with ribbons all over or matching sets made of lace. Everything’s kind of funny but also hot. It’s stuff I would’ve worn when I thought I was straight. I feel like Jessica’s the straight version of me.

It’s interesting to be playing a version of someone whose work I’ve admired for so long. I’ve rewatched [Dunham’s 2012-17 HBO series] “Girls” so many times. To have everything she’s written in my head but be told, “Just do it the way that you would do,” or, “This is all yours now,” it feels freeing. There’re some directors and writers who want you to say exactly what’s on paper.

When you’re in character in front of a camera, there’re certain things you can’t prepare for. I can research so much for a part — create memories for the character, talk through costume — but if it comes out differently [than what I imagined], that’s OK. It’s important to be able to let go and let the scene be what it is. Some people torture themselves after performing. They’re like, “I should’ve said this or that.” I really don’t do that. Once it’s out there, that’s what it’s supposed to be.

Stalter wears, from start: Versace dress, $1,990, versace.com ; and Alexander McQueen ring, $690, alexandermcqueen.com . Versace dress and headband, $325. Wray shirt, $185, wray.nyc ; Dolce & Gabbana dress, $2,095, dolcegabbana.com ; and Sophie Buhai earrings, $395, ssense.com .

Production: Resin Projects. Hair: Tiago Goya. Makeup: Holly Silius. Manicure: Pilar Lafargue

Making a Painting

The artist Roberto Gil de Montes, photographed at his studio in La Peñita, Mexico, on Feb. 13, 2024, painting “Man With Lizard Mask.”

Photographs by Nuria Lagarde

Since 2005, the painter Roberto Gil de Montes, 73, has lived and worked in the fishing village of La Peñita de Jaltemba north of Puerto Vallarta on the Pacific coast of Mexico. He was born in Guadalajara but moved as a teenager to Los Angeles, where he was active in the Chicano art movement. It wasn’t until he took part in the 2020 show “Siembra” at the gallery Kurimanzutto in Mexico City, though, that the art world took notice of his dreamlike Surrealist works. Next year, Gil de Montes will be the subject of a career survey at the Los Angeles County Museum of Art.

I live in a place where there’re no museums or galleries. I’m inspired by my surroundings — by the jungle, by the ocean. I often say there’s no better background than the ocean for painting. I have two studios: one at home, where I work on paper, and a painting studio in town near the ocean. Usually, I start at home on paper. I either sketch or use watercolor wash. If I’m going to do an oil painting, I go to the studio in town. Before I work, I might just sit around and look at books — I like [monographs about Henri] Matisse, [Paul] Cezanne, [Edouard] Manet. It’s sort of a meditation. A lot of times, an idea surges when I’m working on something already; other times, it might be a memory. Or a dream. The other day, I had a dream that I was taking a photo with my phone of a house on fire — but I was conscious that the house was a drawing. [When I woke up] I thought, “Well, I should do a painting of that.”

I’m very intrigued by how memory works and how the memory of something can trigger [a new idea]. [While putting together the career survey] I’ve revisited all of these old works of mine. Some I remember painting. Others I don’t remember at all. I’m 73 years old. I forget things, and then I start thinking, “Wow, this is interesting because if I’m working from memory and forgetting things, how’s that going to affect the work that I do? How can I explore that?” For instance, somebody sent me a painting they said was mine. I said, “No, I didn’t do that painting. I’m sorry,” only to find out that I’d signed the back. A lot of the ideas I’ve been working on come from the past. In the [2022] Venice Biennale, I had a painting [“Up,” 2021] of somebody hanging upside down or falling through the sky. That came [about] when I walked into the studio and noticed I had inadvertently put a painting upside down. I said, “Actually, that’ll make a good painting upside down.” I don’t know how other artists work. I’m very open to ideas.

Reimagining a Retrospective

The conceptual artist Jenny Holzer, photographed at her studio in upstate New York on Feb. 6, 2024, with LED text from her series “Survival” (1983-85), which will be on view at her exhibition at the Solomon R. Guggenheim Museum from May through September.

In 1989, the conceptual artist Jenny Holzer installed an LED scroll of aphorisms — “Abuse of power comes as no surprise” is among the most famous — on three of the six internal ramps of the Solomon R. Guggenheim Museum in New York. It was part of her retrospective “Untitled (Selections From Truisms, Inflammatory Essays, the Living Series, the Survival Series, Under a Rock, Laments and Child Text).” Next month, Holzer, 73, will restage the work there as part of her show “Jenny Holzer: Light Line” (which will also include other pieces from her 50-plus-year career). But this time, the LED installation — which will display the original “Truisms” and other text series — will go all the way to the top.

I’m a self-loathing, slow study so [ahead of the 1989 retrospective at the Guggenheim] I had to walk and walk around and around and around the museum. It finally occurred to me, “Oh, around and around is the answer [to how the piece should be displayed].” I’m relieved I attended to what Frank Lloyd Wright did: The building is magnificently, utterly self-sufficient. It doesn’t necessarily need art, and it’s inclined to shrug it off at times.

As I was developing the new exhibition, I started walking the museum again — and not just the ramps. I went up and down the stairs a few thousand times. I went in the elevator, in assorted bathrooms, in nooks and crannies. And in those places, I put everything from the first diagrams I made in the ’70s on up to icky paintings made by A.I.

The conceptual artist discusses a sculpture by the artist Louise Bourgeois.

Video by Joshua Charow

If I have a specialty, and I’m not certain that I do, it’s installation. I like hunting and seeing. The first step is to go blank, with no preconceptions. And then, since it is visual art, using my eyes to see. Then that mysterious thing happens: Ideas come — when you’re lucky. Otherwise, you try again.

When I’m just trying to make a new artwork for anywhere, it’s adequate to lie on the couch with my eyes closed and wait for that pizza to arrive — the “art” pizza. But when I’m [fortunate enough] to be in a building like Wright’s Guggenheim, it’s — surprise, surprise — necessary for the body to be in the space. Alert, alive, all tentacles reaching out, all senses going. And on some level, being hopeful.

Photo assistant: Ece Yavuz

Adapting an Ibsen Play

For the second time, the playwright Amy Herzog, 45, has adapted a work by Henrik Ibsen. The first was “A Doll’s House” (1879), starring Jessica Chastain. Herzog’s latest staging, “An Enemy of the People” (1882), stars Jeremy Strong as Dr. Thomas Stockmann, a physician who is shunned for warning his town that its lucrative public baths are contaminated. Michael Imperioli plays his brother, Peter Stockmann, the mayor, who seeks to suppress Thomas’s findings.

When I begin an adaptation, I first read a few different translations of the play. Then I try to get those out of my head. For “A Doll’s House” and now “An Enemy of the People,” I’ve worked with a translator named Charlotte Barslund. She does a literal translation in English, which stays as close to the feeling and meaning of the original Norwegian as possible. I go through that line by line, translating it into my own words without making any big decisions. Once I have my first version, I start the bigger work of cutting. For “An Enemy of the People,” we cut three characters. I decided to cut the character of Katherine, Thomas Stockmann’s wife, after a lot of conversations with Sam [Gold, the play’s director and Herzog’s husband]. Her sections weren’t working; they were feeling really turgid. There’re sections that his daughter, Petra [played by Victoria Pedretti], could pick up if Katherine was gone.

What was remarkable about cutting Katherine was realizing how little had to change. The fact that you didn’t have to do major surgery on the play was one tell that cutting Katherine was a good idea. It gives Stockmann this recent terrible grief. It’s a particular grief when you’re a doctor, I think, to lose a spouse — to be the doctor who can’t save your loved ones. That spring loads the play as it begins: He’s reaching a place where he can have happiness again — [only] to be completely betrayed by his community and to lose everything he’s finally gained.

Ibsen wrote domestic psychological plays and social plays. “A Doll’s House” is the former and “An Enemy of the People” the latter. [When adapting “A Doll’s House”] I learned some pretty basic things about the mechanics of making it feel leaner and more modern. But other than that, it was shockingly different to translate them and humbling that he had plays that were so totally different inside of him. This play is bigger and rangier and even more relevant than “A Doll’s House.” It’s very timely — there’re a few headlines it brings up. One is climate change. I was reading a lot about scientists who weren’t listened to when they tried to sound the alarm years ago. I was also reading Naomi Klein’s [2023 memoir] “Doppelganger” and thinking about the way the body politic becomes sick. I try to do a lot of research before writing — I read a fair amount of Ibsen biographies — so there’s no single influence that’s too loud while I’m working. When I’m really doing the translation, I need quiet and cloistering. So there’d be gaps in my communication with [Jeremy] and everyone else. Then there’d be the moments, after reading a draft, when it was time to talk and become porous again.

Jeremy was the reason for the production. From the moment I began to work on “An Enemy of the People,” I knew who was playing Thomas Stockmann. I’ve known Jeremy since 1997, and I’ve seen a ton of his work, so his voice was influencing the way I adapted that character.

[Jeremy and Dr. Stockmann] are similar in that they both have a total commitment to what they believe in. Having someone in my life with that kind of devotion to his craft and to his storytelling means that I’m coming to [the character] with the texture of a real, contemporary person. Every few days, he sends me a poem or an article or something that’s meant something to him related to the play. He sent me the William Butler Yeats poem “A Coat.” The first three lines are “I made my song a coat / Covered with embroideries / Out of old mythologies.” There’s this incidental line in Ibsen’s original [script] that people often cut — but I didn’t, I love it — when Captain Horster [Dr. Stockmann’s loyal friend] makes his first entrance before you even see Dr. Stockmann, who says, “Hang your coat on that peg. Oh, you don’t wear an overcoat?” Captain Horster is this character who has no pretense and is an uncorrupted type of human. And Ibsen has him coatless at the beginning. So the idea of a coat and what it is to cover yourself has become an interesting thematic touch point for us.

Putting Up a Gallery Show

Since graduating from the Rhode Island School of Design in 1999, the visual artist Joe Bradley, 49, has made a habit of reinvention. His style continuously shifts, from mixed-media sculptures to line drawings to highly saturated large-scale canvases. His most recent exhibition of paintings opens this month at David Zwirner gallery in New York.

I tend to arrive at my studio [in Long Island City, Queens] around nine, turn the lights on, make a pot of coffee. Then, depending on what sort of stage the paintings are at, I’ll just start working. If it’s early on [in the piece], I’m much more active. When the paintings [begin] to come together, it’s a lot more about just looking and making little decisions to resolve things. I don’t have a real ritual. I don’t even have to be in any particular state of mind. If I’m distracted or depressed or happy or whatever, I just come in and see what happens.

I do begin with some practical decisions. I know how big the painting is going to be and what sort of surface I’m going to be working on. I know what the contour of [a show] will look like. I don’t make any sort of preparatory sketches — the paintings reveal themselves to me through the process of working on them. But the deadline [for the show] ends up being this organizing force. It’s the day your entire year revolves around, the time [by which] you know the paintings will have to be presentable and cohesive. It’s helpful to have that because, otherwise, you could keep things up in the air indefinitely.

When I paint today, I might be responding to a mark on the canvas that I made six weeks or six months ago. What I’m doing early in the process isn’t going to be available visually by the end — most of it’ll be painted out or it’ll disappear in the process. I lay traps or create little problems for myself to encounter. It’s almost like the uglier it gets in the early stages, the better the painting will be.

Building an Installation

Suzanne Jackson sits on a bucket assembling a sculptural work involving paper or plastic and wire mesh.

The artist Suzanne Jackson, photographed at her Savannah, Ga., studio on Feb. 1, 2024, works on a piece that will eventually be installed on a terrace at the San Francisco Museum of Modern Art.

Kendrick Brinson

The Savannah, Ga.-based artist Suzanne Jackson, 80, has worked as a dancer, a set and costume designer, a professor and a poet — but most notably as a painter. Jackson describes her ethereal compositions as “anti-canvases,” which she creates by building up layers of acrylic paint and at times found materials, including netting and produce bags. In 2025, she’ll display a selection of work from her six-decade career, along with a new site-specific installation, as part of a retrospective at the San Francisco Museum of Modern Art.

I’m working on a commission for the fourth-floor terrace of [SFMoMA]. It’s an installation that’ll climb the walls of the terrace and partially fill the open space. My approach is quite different than if I were working on a painting in my studio: I have to think of it in an architectural or sculptural sense. There’re technical aspects, so I’ve been doing a lot of research in airports and from airplane windows, looking at large-scale structures that don’t fall down — things on the rooftops of buildings like windsocks or poles. This piece will be built from the ground up, unlike my other work that hangs from the walls or ceiling.

I don’t go looking for ideas. I just go into the studio and start painting. Now that I’m older and not teaching, I don’t have to do anything except paint. In the morning, I roam around the house. I do the laundry. I feed the cats. I look out the window and stare at nature. I have a big window at the end of my kitchen and can see tall trees and birds and animals and insects. I go through the studio to get to the kitchen from my bedroom, so sometimes I end up stopping and looking at work I’ve already done. There’s a lot of sitting and thinking and looking. Sometimes, I’ll turn on music — Charles Mingus and Eric Dolphy or Yo-Yo Ma. On Mondays and Fridays, it’s [the Savannah radio D.J. and jazz historian] Ike Carter’s show “Impressions.”

As the music flows, so does the paint — that’s a spiritual environment to be in. Other times, I’ll work in absolute silence. At the beginning, I explore. I’m never quite sure what’s going to happen. Usually, it comes spontaneously. One brushstroke leads to the next, and then it becomes another idea. I might think I have one idea when I start, but it often changes along the way to be something completely opposite. I’m just having a good time being a painter. That’s how I started, and it’s how I’m going to end.

Photo assistant: Dayna Anderson

Lorraine O’Grady,

89, new york city.

The multidisciplinary artist and critic, whose solo show at Mariane Ibrahim gallery in Chicago opens this month.

A suit of armor with a spiky helmet and a raised sword.

Lorraine O’Grady’s “Announcement Card 2 (Spike With Sword, Fighting)” (2020).

I thought I was going to be a writer. My family tells me that I made my first poem when I was a year and a half old: “I like mice because they’re nice.” [In my early 30s, after working for five years] as an intelligence analyst, I went to the Iowa Writers’ Workshop for fiction. I hadn’t really been reading fiction, though, so I wasn’t very good at writing it. I spent most of my second year there translating short stories written by my instructor [the Chilean novelist] José Donoso.

Growing up, I had all these exposures to beauty. I’d gone to the Museum of Fine Arts in Boston as a child and seen [Paul] Gauguin’s “Where Do We Come From? What Are We? Where Are We Going?,” a painting that continues to influence me. And my mother was a dress designer. She redid our house every six months. By the time I was 10, I basically had everything that I’m now working with in place, but I didn’t have the language. I didn’t get that language until the early 1970s, when I read [the critic and curator] Lucy Lippard’s “Six Years: The Dematerialization of the Art Object From 1966 to 1972.” [Then] I was ready. The ideas for my visual art already existed within my experience. I just hadn’t known they were art before.

A few years later, when I was in my early 40s, I had to have a biopsy of my breast. After — thank God, it was negative for cancer — I was thinking about what I could give my doctor as a thank-you present. Reading my copy of the Sunday New York Times, I saw a line in the sports pages about Julius Erving that said, “The doctor is operating again.” I said, “OK, this could be the start of something,” and I made a really good poem for my doctor [out of words clipped from the newspaper]. But when I finished the poem, I said, “This is too good to give to him.” Then I immediately started making newspaper poems for a project called “Cutting Out The New York Times.” I made one every week for 26 weeks. When I finished, I realized that I’d become a visual artist — or revealed that I was a visual artist. — interview by J.C.

Toni Morrison,

The author of 11 novels, including “Beloved,” “Sula” and “Song of Solomon.”

By the time Toni Morrison wrote “Beloved” (1987), her best-known novel, she’d worked for nearly two decades as a book editor. Her debut, “The Bluest Eye” (1970), was published when she was 39 and, while not a commercial success, was critically praised. She published three more books between 1973 and 1981 — including “Song of Solomon” — while still at her editing job.

Prior to going into publishing, Morrison — who had a master’s degree in American literature from Cornell University — spent nearly a decade teaching college English. After her divorce, she worked for a textbook division of Random House before joining Random House proper as its first Black female editor; there, she championed and published Black authors such as Angela Davis, June Jordan, Gayl Jones and Toni Cade Bambara. “I didn’t go to anything. I didn’t join anything,” she once said about the civil rights movement. “But I could make sure there was a published record of those who did march and did put themselves on the line.” All the while, Morrison was waking by dawn to write before heading into the office. She’d later describe those sessions as a form of liberation: “The writing was the real freedom because nobody told me what to do there. That was my world and my imagination. And all my life it’s been that way.”

For many years, Morrison considered her day job essential to her art. “I thrive on the urgency that doing more than one thing provides,” she once said. But the industry had its difficulties — the overwhelming whiteness, the increasing commercial demands — and she left her position in 1983. Four years later, at age 56, she published “Beloved.” In a preface to the 2004 edition of the book, she looks back on the rush of feelings she experienced following her last day at the job. “I was happy, free in a way I had never been, ever. It was the oddest sensation. Not ecstasy, not satisfaction, not a surfeit of pleasure or accomplishment. It was a purer delight, a rogue anticipation with certainty. Enter ‘Beloved.’”

65, New York City

The multidisciplinary artist and former drag performer, whose paintings are currently on view at the Dallas Contemporary art space and the MassArt Art Museum in Boston.

A floral painting with a purple background.

A 2023 acrylic on canvas by Tabboo! titled “Lavender Garden.”

My mother put me into an art class when I was 15 at the Worcester Art Museum, and then I went on to art school [at the Massachusetts College of Art and Design], where I majored in painting and fine art. I remember my first sale, to my aunt Julie. She wanted me to copy [Jean-François] Millet’s “The Gleaners.” I didn’t want to copy someone else’s stuff — I think one of the reasons I’m popular is that I’m very original — but I still did the painting, of course. It was a commission and I was being paid!

I started performing drag in nightclubs when I moved to New York in 1982, but I’ve always been painting, too. This isn’t something I just came up with, like, “Oh, I can’t get on ‘RuPaul’s Drag Race,’ I better start painting.” I had one-man shows and gallery exhibitions right after graduating from art school. Elton John and Gianni Versace bought my paintings. I don’t want anyone to have the impression — which certain people seem to — that I took up painting just because I stopped doing drag. I might be getting a bit more attention for it now, but I’ve always been doing it.

I usually get up at four in the morning. I feed my cat and then start painting. A lot of my paintings are sunrises. And I do sunsets and cityscapes. Or if it rains in a weird way, I’ll do a rain painting. It’s a very spiritual, meditative, private thing. There isn’t a day that goes by that I haven’t done something, and so my work gets better and better and better. And I must say, I’m a master of my craft now.

Sometimes a collector will ask, “Can we come over to the studio and watch you paint?” I tell them no. I usually do it naked. — interview by J.C.

Justin Vivian Bond,

60, new york city and the hudson valley, n.y..

The performer and multidisciplinary artist, whose work has been exhibited at Participant Inc. and the New Museum in New York City, and will be on view at Bill Arning Exhibitions in Kinderhook, N.Y., in May.

Justin Vivian Bond’s watercolor “Witch Eyes, by Viv, to Protect You From Evil Chodes: Lois” (2024).

When I was in high school, I was interested in visual art as well as music and acting, but I decided to major in theater in college because I thought it was a career that could get me out of Maryland and allow me to move to New York. I became a performer, and I’ve been doing cabaret for many years. In 2008, when I broke up my cabaret act Kiki and Herb, my rent was so cheap that I didn’t have to work as much. I started painting again, and it flows very naturally for me.

My watercolors are primarily portraits of people I know. I’ll ask them to pose for a photograph and then paint from that. I also make pseudo fan art, like my “Witch Eyes” series, which is based on iconic photographs of celebrities’ eyes. The wonderful thing about painting is that you have total control over it, if you’re lucky. Onstage, there’re so many variables. And with painting, you don’t have to be there [when people see your work]. I love being in front of an audience, but I don’t really love being among people. The pleasure for me is singing but, when the show’s over, I have to talk to a lot of people. I like all of them, but there’re too many, so it can be a little overwhelming. You don’t ever get to connect on a deeper level. The most satisfying times in my life have been when my shows have been installed and it’s the night before the opening. All of it’s exactly how I want it — the room, the lighting — and I just sit there and look and have this sense of utter satisfaction. — interview by J.C.

Wallace Stevens,

The poet, whose best known works include “The Emperor of Ice-Cream,” “The Snow Man” and “Anecdote of the Jar.”

Wallace Stevens never quit his day job. Though he had literary ambitions as a young man, serving as the editor of the Harvard Advocate as an undergraduate, he earned his degree from New York Law School and in 1916 joined the Hartford Accident and Indemnity Company, where he remained, specializing in surety and fidelity claims, until his death, in 1955. Yet he was writing all the time: on his daily walk to work, at home in the evenings and sometimes in the office.

It wasn’t until 1914, when Stevens was 34, that his first post-college poems appeared in literary journals. He went on to publish seven volumes of poetry over the course of his lifetime. The first, “Harmonium,” released in 1923, sold fewer than 100 copies; the last, 1954’s “The Collected Poems of Wallace Stevens,” won the Pulitzer Prize.

The themes of Stevens’s work — the affirming power of art and beauty, the sublime contained within the mundane — suggest one reason why he stuck with insurance law even as his artistic acclaim grew. His steady paycheck would have allowed writing to remain a purely creative act. In his essay “Surety and Fidelity Claims,” Stevens says of his insurance work, “You sign a lot of drafts. You see surprisingly few people. ... You don’t even see the country; you see law offices and hotel rooms.” Poetry, on the other hand — as he characterizes it in 1923’s “Of Modern Poetry” — “must be the finding of a satisfaction.” It was his livelihood, in the most artistic sense of the word.

Theaster Gates,

50, chicago.

The University of Chicago professor and multidisciplinary artist, whose solo shows at the Gagosian gallery in Le Bourget, France, and the Mori Art Museum in Tokyo open this month.

A sculpture resembling a piano covered with white metal.

Theaster Gates’s sculptural work “Sweet Sanctuary, Your Embrace” (2023).

In 2000, I took a job as the arts planner at the Chicago Transit Authority. There was so much new construction happening there, and my role was to appeal to the Federal Transit Administration for a portion of the transit money to be set aside for public art. In a way, it was like an M.B.A.: I managed $26 million over four or five years. My negotiating skills went through the roof.

I’d graduated from Iowa State [in 1995] with a degree in community and regional planning and then did a [post-baccalaureate] in religious studies and fine art at the University of Cape Town. After that, I spent time in Japan studying ceramics. So when I came to the C.T.A., my background incorporated both art and community and, every day, I was leaving there and going to my ceramics studio.

In 2005, I left the C.T.A. because I outgrew the position, and I stopped making pots because I couldn’t afford my studio. I started using more recycled materials in my work [such as wood pallets]. It was during this period that I was starting to combine my knowledge of minimalism and conceptual practices with my background in building and working with my dad, who was a roofer. Now buildings have kind of become my primary monuments, and the project management and team building that I learned at the C.T.A. are really evident in the way that I create.

I did a project at the New Museum [that opened in late 2022 and] was essentially an exhibition about mourning and loss. My father had died six months prior to the opening, and I didn’t have time to mourn his death or the deaths of dear friends like [the fashion designer] Virgil Abloh, my mentor [the Nigerian curator and art critic] Okwui Enwezor, [the author] bell hooks and [the film scholar] Robert Bird. The show grew out of a desire to grapple with my feelings and honor these people. The museum didn’t necessarily have the budget to do all of the things that I wanted to, so I had to figure out, “Are there poetic ways to articulate loss that don’t require substantial build-out, or big, fancy gestures or expensive audio equipment?”

Ultimately, I included Bird’s 9,500-volume library, and Virgil Abloh’s widow loaned me his yellow diamond-studded necklace. Those were moments when limitations built new friendships and more nuanced opportunities, and I feel like having been a planner’s what made me willing to pick up the phone and say, “Hey, would you be willing to collaborate with me?” — interview by J.C.

Remember That You’re Never Truly Equipped to Start Anything

As actors, we feel like we have to be ready, but I’d say you’re never ready. You’re not prepared for something you’ve never done before, so let go of that. This past year I did some symphony gigs for the first time, and it was incredible. It was better than being ready, because I just had to be new. — Ali Stroker, 36, actress and singer

Myha'la stands outside under a dim sky wearing a hoodie.

Myha’la in season one of “Industry,” 2020.

Amanda Searle/HBO

Embrace Fear — but Come Prepared

I have the curse of perfectionism, and there’ve been so many projects where I’ve said, “I’m not right for that, so I’m not going to audition.” But that’s kind of lazy, so I’ve rewired my thinking: If something’s targeting some insecurity in me, why not take the opportunity to work on that thing? I used to avoid anything with an accent but now, if I got the call for “Bridgerton,” I’d feel confident enough to go for it. Definitely do your homework, though. With almost every trading scene in “Industry,” I’ve thought, “Nope, I’m not going to be able to get the words out.” I don’t sleep the night before, and I’m wrecked the next morning. Then everything pours out because I’ve come in prepared. Filming the first season of “Industry” in 2019 was the first time I’d been on a job longer than five days, the first time I’d worked out of the country, the first everything, and I was so nervous. Go toward things that scare you. — Myha’la, 28, actor

Make Yourself Start

Deciding what’s a good idea is an ongoing battle. But you can only think about something for so long before you just have to try it. Someone once told me that when he makes a painting he likes, he’ll make another one with the same idea to see if it holds up and then another, which I thought was pretty good advice. Sometimes I force myself to go to my studio and start painting [Gordon initially set out to be a visual artist and started focusing more on her art practice about 25 years ago], even if I don’t have an idea. I like conceptual thinking, but I also like the physicality of painting. Usually that leads me to something and, even if it doesn’t — what am I going to do, sit around and watch movies all day? — Kim Gordon, 70, musician and visual artist

Put Yourself in Your Body — and Your Past

Sometimes painting can feel like this dream I have where I’m in the back of a moving car and I’m reaching over to the front seat to try to get control. That’s a nervous system in panic. There’s a grounding exercise I like to do where I jump and really feel my feet smack the floor — trying to get yourself back into your body’s part of the trick. And then I go, “Well, who’s dreaming?” If you can get there, you’re lucid in the dream, and that’s a good place to be. Still, feelings will come up that you don’t want. When I was working on this satyr painting, suddenly the satyr was my old friend Chris, who betrayed me when I was 18 to a group of guys who beat me up. I thought, “Why am I painting Chris? I don’t want to paint Chris.” I was in flow for a while but, when I hit this painting, I experienced self-doubt and thought, “People are going to think these paintings are awful.” Then I went on Instagram and liked one of his pictures. It felt like a weird, brave task. And he wrote to me and asked if he could call me, 26 years after ghosting me, and he apologized for 20 minutes. I cried and I think he probably cried, and I felt it all melt away. And then I went back to the painting. — TM Davy, 43, artist

Kim Gordon, wearing a floral jumpsuit, poses in front of a red background and extends her left hand.

Kim Gordon in 1990.

Laura Levine/Corbis via Getty Images

Psych Yourself Out

If things are too hard, something’s wrong, but you also have to embrace the awkward feelings. See if you can fool yourself — I used to get self-conscious about drawing when I was a teenager in an art class with a model, and the teacher said, “Don’t think of it as drawing. Think of it as designing the page.” That really loosened things up for me. It’s amazing what you can do if you pretend. — Kim Gordon

When people say they’re self-taught, it means they asked somebody else how they did it. When I began in folk music, I went to the clubs and I begged and borrowed and asked. [More recently, having taken up painting acrylics a little over a decade ago,] I was painting [Anthony] Fauci and couldn’t figure out how to do his glasses. I called an artist friend and she had all these tricks — “Don’t try to copy the photograph,” she told me, “just use dabs of paint here and there to give the impression of glass.” It didn’t take more than 45 minutes to learn how to put glasses on Fauci. Without her, I would’ve struggled for weeks trying to get it right. — Joan Baez, 83, singer-songwriter, activist, painter and author

Don’t Sweat the End — and Work on More Than One Thing at Once

Remember that the maker almost never knows exactly what they’re making in advance. The great works often appear when we’re aiming toward something completely different. Start as soon as you see a way in. I [also] find it helpful to work on multiple things at the same time. Not in the same moment but during the same general time period. The beauty is that different projects are at different stages, so you can avoid getting burned out on any one [thing]. We can step away, work on something else and come back with new eyes, as if we’re seeing it for the first time. Tunnel vision’s easy to fall into when working on a single project for a long period. We can end up getting lost in details nobody else will ever notice, while losing touch with the grand gesture of the work. — Rick Rubin, 61, music producer and author of “The Creative Act: A Way of Being”

Murray Hill in 1996.

Catherine McGann/Getty Images

Treat Procrastination as Productivity

There were certain things I couldn’t do during the [SAG-AFTRA] strike, but I did get a book deal. It’s called “Showbiz! My Unexpected Life as a Middle-Aged Man,” and I’ve got to get that done — by June 1st! I’m used to being onstage. When I’m sitting at my desk in my studio apartment, I procrastinate quite a bit, and I’m always asking myself, “Is this part of the creative process for me, or am I just making my life harder?” But I also procrastinate in productive ways. I go for a walk — in rehab, they taught us, “Move a muscle, change a thought.” Then I come back and put on jazz music. Doing that removes the blocks, probably because jazz is so much about improvisation and I’m at my core an improviser. Another thing I’ll do to light the match is turn to others’ work. I’ll watch Dean Martin videos or a documentary or old game shows. For this memoir, I’ve been reading memoirs by other people — Gary Gulman, Viola Davis, Maria Bamford, Leslie Jones, Aparna Nancherla — and not only does that awaken my creative senses, it triggers memories. — Murray Hill, 52, comedian, actor and writer

Be Comfortable With Discomfort

There was a time when [my] body was always ready, and when I had so many axes to grind and windmills to chase [that] something would come out. Now I can’t just depend on my body being there — that I’m going to bust a move and seduce — so I have to be a little more strategic: “What’s the idea? Does it serve anyone other than you?” I’m trying to reaffirm for myself that what I have left in me to say is worth saying. Doubt is always with us, and it burns like fire. But if I refuse to give up the mantle of being a creative artist, I’ve got to do something. [You might say] “Well, why don’t you just love a child? Why don’t you go work at a soup kitchen down the street?” Because I’m a self-involved son of a bitch. Procrastination says, “I don’t dare,” but can you live with yourself if you don’t? So how do you start? Terror. Guilt. Fear. All negatives to this generation of young people who don’t ever want to be uncomfortable, but the generation that formed me and my own generation had that feeling that you’re being pushed against and you’ve got to push back, because you’re not like them. As Martha Graham said to Agnes de Mille, “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.” I’ve got to believe that about myself, and the evidence is what I dare to do. — Bill T. Jones, 72, choreographer, director and dancer

If Your Work Goes Up in Flames, Don’t Fetishize the Ashes

One thing that eases the prospect of getting started is remembering that not everything you make needs to be for consumption or even to count as art. I recently spent nine months quietly making these works — mineral paint on cement slabs — and ended up throwing them all away because I decided they were too conventional. You’re not married to your old self, either. In 2013, there was an electrical fire at the studio I’d just moved into, and the building burned to the ground. I lost cartons of negatives and proof sheets that were over six feet tall, as well as photographs — stuff I’d made five, seven, 10, 15 years prior. Of course, it was traumatic and terrifying, but it was also freeing. Eventually I realized it was an opportunity for me to draw a line and stop making a certain kind of work. As artists, we think, “I got known for this type of thing,” or, “This is what everybody seems to like of mine.” A part of me felt, “I have to rebuild this person,” and then I thought, “Well, I don’t,” and I started something else. It was actually one of the most fruitful periods of my creative life. — Anthony Pearson, 55, painter, sculptor and photographer

Joan Baez holds a guitar and sings into a microphone.

Joan Baez in 1974.

David Redfern/Redferns via Getty Images

Practice Some Denial

When I was working on “Diamonds & Rust” (1975), I was at a low point of my career and I made a decision that I was going to concentrate on music and quit globe-trotting for different issues. I realized that the music needed my time and attention if it was going to be any good. Learning to live with the state of the world’s a daily practice. Everything we do, we do against the backdrop of global warming and fascism. I never dreamed I’d live in a world this chaotic and discouraging, and I’m overwhelmed but I’m also a great believer in denial — I think that’s where you have to be in order to create, or have fun or dance — providing that we set aside a certain amount of time to come out of denial and actually do something to help. — Joan Baez

Reject Fear. And Put Your Ego to Bed.

Last year, I went through what medical professionals would call a flop era. I’d had three years of the kind of lovely, psychotic busyness that has you hopping from job to job, just following green lights, but then everything went poof — the show I was working on got canceled; the financing for the film adaptation of my novel fell through. I’d been working on such personal things regarding sex and disability and, when those things ended or weren’t [well] received, I began to doubt myself. But then, you’re combating panic, and I started thinking really awful thoughts like, “Do I need to write a pilot where there’s a dead body?” Fear is the most poisonous thing to creativity. You can’t force it, and you have to listen to the work — it’ll tell you what it needs to be. Look at me getting all woo-woo, but it’s true. When you make a living off of writing, not every single project’s going to be from the depths of your soul, but I think there should always be some level of enjoyment. Starting over is really humbling, by the way. Knowing when to stop and when to start over requires giving your ego an Ambien. Real failure is letting your ego drive the bus of your life right off the cliff. — Ryan O’Connell, 37, writer and actor

Alice McDermott, 70, writer

There are three kinds of novels I’ve never taken to heart: science fiction, murder mysteries and novels about novelists. So I’ve decided to try my hand at each. If I fail, they’re probably not books I’d want to read anyway.

Thurston Moore, 65, musician and author

I’m putting the final touches on a new album, “Flow Critical Lucidity.” But after my memoir, “Sonic Life” (2023), came out, I realized my next mission was a novella, the working title of which is “Boomerang and Parsnip.” It concerns two madly in love youths in the wilds of Lower Manhattan circa 1981, and it’s wholly irreal, bordering on fantasy.

A painting of a bearded man with long white hair flipping through a book with a large die inside. Stacks of books are on shelves behind him. A sheathed knife hangs on the wall. On the table in front, a goblet and a baguette.

Courtesy of Samuel Delany

Samuel R. Delany, 82, writer

I’m writing a guidebook for a set of tarot cards I designed with the artist Lissanne Lake.

Susan Cianciolo, 54, visual artist

I’m preparing a solo exhibition that will open at Bridget Donahue gallery next month, so I’m making new works and curating older ones. It’ll definitely feature a book of my watercolor tree paintings, “Tell Me When You Hear My Heart Stop.”

Jenny Offill, 55, writer

I’m planning to start a band called Spacecrone. (I’ve stolen the name from a book of Ursula K. Le Guin essays.) It’ll be all female and 55-plus. Our faces will be made up like Ziggy Stardust, but we’ll wear sensible clothes and shoes. What’s kept me from starting it is that I can’t sing or play any instruments.

Alex Eagle, 40, creative director

We’re finessing our bag collection, which we’re trying to make as luxurious, but also as practical, as possible. And I’m planning to write a cookbook with my son Jack.

Earl Sweatshirt, with his hair in long dreadlocks, wearing a gray T-shirt and a wristband, holds up a microphone.

Jim Bennett/Wire Image, via Getty Images

Earl Sweatshirt, 30, rapper and producer

Making more music — it’s the one thing I always find myself coming back to, though every time I do, I have to overcome intense feelings of self-doubt. I also want to try stand-up, but I’m scared because there’s no music to hide behind. I don’t want dogs-playing-poker laughs, either. You know the [paintings] of dogs playing cards? Like, “Oh, it’s a rapper doing stand-up.”

Alex Da Corte, 43, visual artist

I’ve been writing an opera for some years now based on Marisol Escobar’s [assemblage] “The Party” (1965-66). It’s set at a time when the sun only shines for one day a year, and the players at the party are all wondering how to move forward while holding on to their pasts.

Danny Kaplan, 40, designer

While clay has been my faithful medium for years, I’ve lately been fueled to broaden the scope of my craft by embracing — and learning how to push the boundaries of — new materials like wood, metal and glass.

Kengo Kuma, 69, architect

Getting out of [Tokyo]. I’m doing my best to reduce the burden on big cities — I think humankind has reached a limit when it comes to congestion — and I’ve recently opened five satellite offices in places like Hokkaido and Okinawa.

Raul Lopez, 39, fashion designer, Luar

The thing I’m always meaning to restart is my video blog “Rags to Riches: Dining With the Fabbest Bitches,” an exploration of how food, fashion, music and art all connect.

Charles Burnett, 80, filmmaker

Right now I’m involved in the development of two films. The first, “Edwin’s Wedding,” is the story of two cousins, separated by the Namibian armed struggle with South Africa, who are both planning their weddings. The second, “Dark City,” also set in Namibia, is more of an emotional roller coaster about betrayal and vengeance told in the Hitchcockian mold.

Ludovic Nkoth, 29, visual artist

I’m looking to experiment outside the confines of the canvas — sculpture and video have always been lingering in the back of my head.

Elena Velez, 29, fashion designer

I want to start a series of salons to bring together great minds across multiple disciplines, while feeding the subculture that my work draws from.

Daniel Clowes, 63, cartoonist

I’ve always had the desire to do fakes of artworks I admire — to figure out how they were done, and so I could have otherwise unaffordable artwork hanging in my living room. Painting [with oil] is as frustrating and exhilarating as I remember it being when I was in art school 43 years ago, and my paintings look alarmingly not unlike the ones I did at 19.

Piero Lissoni, 67, architect and designer

I’ve started the design for several new buildings that will become government offices in Budapest. I’d like to start designing chairs, lights, skyscrapers, spacecraft. In truth, I’d like to start doing everything again.

A painting of tangled bodies fighting with a man raising a baby into the air.

Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610), Art Gallery of Ontario, Toronto

Robert Longo, 71, visual artist

I’ve been struggling to figure out how best to make sense of the overwhelming images in the news, so I’m turning to the past. I’m working on two monumental charcoal drawings based on paintings [about war]: Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610) and Francisco de Goya’s “The Third of May 1808” (1814).

Gabriel Hendifar, 42, designer

I’m moving into a new apartment by myself after a series of long relationships. I’m excited to challenge my own ideas about how I want to live and to see how that affects the work of my design studio [Apparatus] as we begin our next collection.

Donna Huanca, 43, visual artist

I’m working on two solo exhibitions. One will be in a late 15th-century palazzo with underground vaulted rooms in Florence, Italy; the other in a modern white cube in Riga, Latvia. For years, I’ve tailored works to the architecture of their exhibition spaces, so I’m enjoying working within this duality.

Satoshi Kuwata, 40, fashion designer, Setchu

We’re about to start offering shoes. I’ve thought of the design. Now I just have to go to the factory and see them in real life.

Aaron Aujla, 38, and Ben Bloomstein, 36, designers, Green River Project

We’re starting a new collection of furniture based on offcuts from the studio that are finished with a modified piano lacquer. Hopefully, a suite of these pieces will be ready for exhibition by fall. We also have a commission we’re excited to start — a large sculptural fireplace made from three unique logs of rare wood.

Adrianne Lenker, 32, musician, Big Thief

I want to start learning how to paint. The few times I’ve tried it, I loved it but also felt daunted by all I needed to learn. I often think of my songs in terms of paintings. My grandmother Diane Lee’s an amazing watercolorist. Recently she gave me a lesson all about gray.

A textile artwork with patterns of green and purple bars and three circular patterns with a spider in the center.

Melissa Cody’s “Power Up” (2023), courtesy of the artist and Garth Greenan Gallery, New York

Melissa Cody, 41, textile artist

I’m starting to create wall tapestries that incorporate my pre-existing designs, which were handwoven on a traditional Navajo/Diné loom, but these new works are highly detailed sampler compositions made on a digital Jacquard loom.

Josh Kline, 44, multidisciplinary artist

I’m working toward shooting my first feature film — a movie, not a project for the art world.

Sally Breer, 36, interior decorator

My husband and I have started building some structures on a property we own in upstate New York — he has a construction company in Los Angeles. We’re using locally sourced wood and are 80 percent done with a studio-guesthouse, a simple 14-by-18-foot box set on foundation screws, tucked into a pine forest. This is the first time we’re really working together as a design-build team. He’s started referring to it as our “art project.”

Eddie Martinez, 47, visual artist

I’m restarting a group of large-scale paintings for an exhibition at the Parrish Art Museum [in Water Mill, N.Y.] this summer. They’re each 12 feet tall and based on a drawing of a butterfly. The series is called “Bufly” since that’s how my son, Arthur, mispronounced “butterfly” when he was younger. I’d put the paintings aside while I finished my work for the Venice Biennale. Now I’m locked in the studio, painting like a nut!

Karin Dreijer, a.k.a. Fever Ray, 49, singer-songwriter

I’ve been thinking about learning to play the drums. They’ve always felt like a bit of a mystery to me.

Eric N. Mack, 36, visual artist

I’m starting to recharge in order to begin my next body of work. I journal, read, explore the Criterion Channel and get deep-tissue massages. I keep wishing I’d organize the fabrics in my studio.

Jenni Kayne, 41, fashion designer

We’re starting the next iteration of the Jenni Kayne Ranch [the brand’s former property in Santa Ynez, Calif., where she’d invite guests for yoga, dining and spa experiences], only this time we’re heading to upstate New York. We’re calling it the Jenni Kayne Farmhouse, and it’ll include a self-care sanctuary where slow living is a genuine ritual.

Christine Sun Kim, 43, multidisciplinary artist

I have a bit of an adverse reaction to people doing American Sign Language interpretations of popular songs on social media — they’re usually based entirely on the lyrics in English, when rhyming works differently in ASL. So I’ve been wanting to make a fully native ASL “music” video. One day.

Ellia Park, 40, restaurateur

I’ve started collaborating with the in-house designer at Atomix, one of the restaurants I run with my husband, Junghyun Park, on custom welcome cards for the guests that feature bespoke artwork.

Awol Erizku, 35, visual artist

Awol Erizku’s “Pharrell, SSENSE” (2021), from "Awol Erizku: Mystic Parallax" (Aperture, 2023), courtesy of the artist

I’m focused on my exhibition “Mystic Parallax,” opening in May in Bentonville, Ark. [which will include concerts and portraits of such people as Solange and Pharrell Williams]. What I never seem to get around to is archiving all of my negatives in the studio.

Jeremiah Brent, 39, interior designer

As I navigate the [effect of the] ever-so-saturated interior design algorithm, I’m challenging our team to expand the language we speak, diversifying design references by looking to the unexpected: playwrights, films, historians and science.

Vincent Van Duysen, 61, architect

I’m focusing on the 90th anniversary of [the Italian furniture company] Molteni & C. I’m also excited about our recent addition to the family — a black-and-tan dachshund called Vesta after the virgin goddess of the hearth and home.

Kwame Onwuachi, 34, chef

I’m working on launching a sparkling-water line — the proceeds of which will help bring clean water wells to African countries — and starting to write my third cookbook. I start everything I think of.

Larissa FastHorse, 52, playwright and choreographer

I’m adapting a beloved American musical — I can’t say which — into a TV series. Which is scary because, even though I just adapted “Peter Pan” for the stage, the TV process is the opposite: Instead of cutting down a three-hour musical, I have to add hours and hours of content. So it feels like beginning over and over again.

Peter Halley, 70, visual artist

I’ve started to paint watercolors. Now that I’ve reached 70, I thought it was about time. The images are arranged in a grid like on a comic book page, but the narrative’s asynchronous. They’re based on images of one of my cells exploding, an obsession I’ve had going all the way back to the ’80s.

Darren Bader, 46, conceptual artist

I want to start an art gallery called Post-Artist that regularly shows art but refuses to name who made it. No social media presence. I also want to do what Harmony Korine is doing, except with none of that content.

Jeff Tweedy, 56, musician, Wilco

I’m about to record an album of new music with my solo band, which isn’t really solo at all. I’m bringing my sons and the close friends and quasi family who’ve been playing with me live for the past 10 years or so into the studio. I’ve written songs that feel like they can be a vessel for all of our voices together: a miniature choir. There’s really no experience that compares to singing with other people. I think it tells us something about how to be in the world.

Charles Yu, 48, writer

I’m about to start promoting the “Interior Chinatown” series [based on Yu’s 2020 novel]. I’d like to get into music and service. My son’s a drummer, and he’s awakened some latent impulse in me. And my daughter and wife have been volunteering. I’m not exactly sure what’s been keeping me from either. I could say work, but I suspect the actual answer is nothing.

Elyanna, 22, singer-songwriter

I’d love to improve my Spanish. I visit my family in Chile at least once a year and, every time I fly back to L.A., I realize that I need to keep practicing.

Boots Riley, 53, filmmaker and musician

I’m getting ready to start filming a feature I wrote about a group of professional female shoplifters who find a device called a situational accelerator that heightens the conflict of anything they shoot it at. I also have a sci-fi adventure: a janky, lo-fi epic space funk opera. My dream is to use the same crew and shoot the two movies back to back in Oakland, Calif. [where I live]. That’s one thing about being 53 — I want to be able to spend more time with my kids.

Boots Riley, wearing a brown jumpsuit, sunglasses, and with low sideburns, a mustache and a soul patch sits on a swing set in a park.

Damien Maloney/The New York Times

Sable Elyse Smith, 37, visual artist

I’ve recently embarked on an operatic project. Yikes! MoMA invited me to make a sound piece that’ll open in July, and it’ll be a kind of prelude to a larger version. It’s titled “If You Unfolded Us.” It’s a queer love story and a coming-of-age story about two Black women.

Satoshi Kondo, 39, fashion designer, Issey Miyake

My latest experiment with washi , or traditional Japanese paper, is blending fibers extracted from the remaining fabrics of past clothing collections with the pulp mixture from which washi is made. It’s a way of playing with color and texture.

Laila Gohar, 35, chef and artist

Almost all of my work has used food as a medium and has therefore been ephemeral. Making work that isn’t — namely, sculptures — is an idea I’ve been toying with for a while, but I haven’t been able to jump into it yet. I once read something an artist said about how she thought male artists are more concerned with legacy than female artists, and that female artists are more comfortable creating ephemeral work. This rang true for me, but now I feel slightly more confident about making things that might outlive me.

Patricia Urquiola, 62, architect and designer

I was nominated [last year] as a member of the Royal Academy of Fine Arts of San Fernando in Madrid, so now I’m writing the acceptance thesis, or discurso de ingreso . It’s an occasion to reflect on ideas — for example, I reread the philosopher Bruno Latour, who argues that design “is never a process that begins from scratch: To design is always to redesign.”

Luke Meier, 48, and Lucie Meier, 42, fashion designers, Jil Sander

We’ve started making some objects — glass and ceramics. We aren’t at all experienced in these fields, so it’s invigorating to play again.

Two women wearing baseball caps sit and talk. One, center, is holding a binder of papers with the label "The Salt Path Draft" on the front.

Kevin Baker/Courtesy of Number 9 Films.

Marianne Elliott, 57, director

I’ve always wanted to do a film, but it requires so much time and theater is a hungry beast, so it’s eluded me until now: “The Salt Path,” starring Gillian Anderson, is based on a true story about a remarkable English couple [who embark on a 630-mile hike].

Samuel D. Hunter, 42, playwright

Last year, I was approached by Joe Mantello and Laurie Metcalf, who wanted someone to write a play for Joe to direct and Laurie to star in. I’d never met either of them but, if I had to pick one actor on earth to write a role for, it would be Laurie. “Little Bear Ridge Road,” a dark comedy about an estranged aunt and nephew who are forcibly reunited after the passing of a troubled family member, will go into rehearsals in May.

Thebe Magugu, 30, fashion designer

When I was 16, I began writing a novel, taking place between the small South African towns of Kimberley and Kuruman, that I’ve contributed to every year since. It currently sits as a huge slab of a book — around 80,000 words — and I’ve been meaning to rewrite and polish the earlier chapters. I’ve given myself the next 10 years [to finish the project]. It’ll be a gift I give to myself when I turn 40.

Misha Kahn, 34, designer and sculptor

I have an idea for this toothpaste project called Zaaams that’s expanded, of its own volition, into an entire cinematic universe. Sometimes an idea can grow so big that it’s unmanageable and nearly unstartable. Sometimes I’ll really start working on it, but I get overwhelmed by the seismic rift in society it would cause and feel dizzy. Crest, if you’re reading this, call me.

Nell Irvin Painter, 81, visual artist and writer

I’m way too old to be a beginner. I’m 81 and have already written and published a million (OK, 10) books. But a very different kind of project’s been tugging at me: something like an autobiographical Photoshop document with layers from different phases of my life in the 1960s and ’70s — spent in France, Ghana, the American South. I’d have to be myself at different ages.

A black-and-white self-portrait of a smiling woman taken in a mirror.

Courtesy of Nell Irvin Painter

Sharon Van Etten, 43, singer-songwriter

In 2020, I became familiar with the work of Susan Burton, the founder of A New Way of Life, which provides formerly incarcerated women with the care and community they need to get their lives back on track, and was so moved by her story I asked my record label if it was OK to use money from my music video budget to produce a minidocumentary on the organization, “Home to Me.” I still have a lot to learn about filmmaking, but I think it’s the beginning of something beautiful.

Piet Oudolf, 79, garden designer

I’m starting the planting design for Calder Gardens, a new center dedicated to the work of the artist Alexander Calder in Philadelphia. I’m working on it with Herzog & de Meuron architects, and it’ll include a four-season garden that will evolve with the months. Early in the year, it’s about ephemerals (bulbs). Spring is when woodland flowers are important. Summer will be the high point of the prairie-inspired areas, and in fall and winter there’ll be seed heads and skeletons. I think a good, harmonious garden is like a piece of living art.

Rafael de Cárdenas, 49, designer

As a consummate shopper, I’ve always thought the best way to bring my interests together would be with a store — a lab for testing things out and creating a connoisseurship in the process. I’m thinking Over Our Heads (the second iteration of Edna’s Edibles in [the 1979-88 sitcom] “The Facts of Life”) meets Think Big! (a now-closed shop in SoHo) meets [the London gallery] Anthony d’Offay meets [the defunct clothing store] Charivari meets [the old nightclub] Palladium.

Gaetano Pesce, 84, architect and designer

I’m working on a possible collaboration with a jewelry company from Italy. I can’t say the name yet, but the pieces stand to be very innovative. Also, another collaboration with the perfume company Amouage inspired by time I spent in Oman’s Wadi Dawkah and the beautiful frankincense trees there.

John Cale, 82, musician and composer

Ever since I played viola in the National Youth Orchestra of Wales, I’ve been hypnotized by the thought of the discipline needed to conduct. My attention soon wandered — from John Cage to rock music. Now, 60 years on, it’s finally time.

Nona Hendryx, 79, interdisciplinary artist and musician

I’m working on the Dream Machine Experience, a magical 3-D environment that’ll be filled with music, sound, images and gamelike features. It’ll premiere at Lincoln Center this June. [My idea was] to create an imaginative world inspired by Afro-Futurism that encourages a wide, multigenerational audience to share.

Faye Toogood, 47, designer and visual artist

I’d like to develop a jewelry collection, but I haven’t. Is it because no one’s asked — no phone call from Tiffany! — or because I’m struggling to understand how adornment fits into our current world?

Freddie Ross Jr., a.k.a. Big Freedia, 46, musician

I’m recording a kids’ album and publishing a picture book for early readers. Much of my art is about language and the unique colloquialisms that we have in bounce culture. Children respond to its snappy rhymes and phrases.

Danzy Senna, 53, writer

Every time I write a novel, I think, “This is the most masochistic experience I’ve ever had — I’m going to quit this racket.” But I feel incomplete without this depressive object to feel beholden to. I just finished editing one book [“Colored Television”] and have the sinking feeling I’m about to start another.

Jackie Sibblies Drury, 42, playwright

I’m starting, hopefully in earnest, to write a play in collaboration with the director Sarah Benson inspired by action movies. We were intrigued by the problem of trying to put chase scenes or action sequences onstage, where it’s difficult to build momentum or suspense because in theater we have less control over the viewer’s eye, among other things. But hopefully the play will be about what it means to see ourselves in these macho cis men who often get hurt pretending to almost die for our entertainment — or something like that?

Lindsey Adelman, 55, designer

I’m putting together a digital archive of my work and ephemera — about 30 years’ worth — revisiting everything from the sculpture I made as a student at RISD to the paper lights David Weeks and I sold for $25 to datebooks where I scribbled notes about things I wished would come true and then did. I hope it’ll encourage others to start something. I want them to understand, “Oh, this was the first step … this beautiful, finished thing was inspired by a piece of garbage dangling from a streetlamp.”

Elizabeth Diller, 69, architect, Diller Scofidio + Renfro

A shadowy image of a blurred figure in an illuminated doorway at the top of some stairs.

David Wall/Getty Images

Since 2012, when my studio was doing research for a contemporary staging of Benjamin Britten’s chamber opera of Henry James’s “The Turn of the Screw,” I’ve been meaning to start a book about ghosts. While ghosts are a well-trod literary device, their visual representation on stage and screen also has a rich history that can be told through the lens of an architect. Despite the fact that ghosts transcend the laws of physics, they’re stubbornly site-specific — they live in walls, closets, attics and other marginal domestic settings, and they rarely stray from home.

David Oyelowo, 48, actor

Something that three friends and I are in the process of building and developing is a streaming platform that we launched last year called Mansa. The idea — born out of growing frustration with making things that I love and then having to use some kind of distribution mechanism where the decision makers are almost always people who don’t share my demographic — is Black culture for a global audience. Essentially, we started a tech company that intersects with our love of story and our need to create [pipelines] for people of color and beyond to be seen.

Franklin Sirmans, 55, museum director, Pérez Art Museum Miami

There’s a recurring exhibition that I’ve worked on with [the curator] Trevor Schoonmaker since 2006 called “The Beautiful Game” that consists of art about soccer. We do it every four years because of the World Cup, and I’m starting to get into the 2026 iteration. I’ve also been trying to finish a book of poems since I graduated college more than 30 years ago. But it’s happening. It’s not like you don’t write a good sentence every now and then.

Jamie Nares, 70, multidisciplinary artist

I’ve always loved this line of poetry [from the Irish poet John Anster’s loose translation of Goethe’s “Faust”] that goes, “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” One thing I’ve begun recently is a revisiting of my 1977 performance “Desirium Probe,” for which I hooked myself up to a TV that the audience couldn’t see, and relayed what was happening onscreen through re-enactment. Now I’m going to do it with YouTube videos chosen at random from the wealth of rubbish and interesting stuff on there. And as a video, because I’m not as agile as I once was.

Joseph Dirand, 50, architect and designer

A rendering of the interior of a hot air balloon, with a tufted carpet, a circular table and a curved upholstered bench. An oval window looks onto the top of clouds.

My firm has just started developing, with a French company called Zephalto, a prototype of the interiors for a hot-air balloon that will take travelers to the stratosphere, and the carbon footprint of the journey will be equivalent to that of the production of a pair of blue jeans. The balloon is transparent, so it’ll be almost as if you’re going up in a bubble of air — riders will see the curve of the earth. We’re designing three private cabins: sexy, organic cocoons that reference the ’60s and the dream of space, but are otherwise pretty minimal. The landscape is the star of the show.

Amaarae, 29, singer-songwriter

I’m working on the deluxe version of my 2023 album, “Fountain Baby.” The approach for the original album was very maximalist — I organized these camps all over the world and had a bunch of people come through to work on the music. Afterward, I felt underwhelmed — not by the project but by how I felt at the end of it all. [So] I stripped back everything so it’s just me and my home setup, trying ideas. Before, I was really lofty, but now my feet are touching grass a little bit.

Jennifer Egan, 61, writer

I’m starting a novel set in late 19th-century New York City. As always with my fiction, I have little idea of what will happen, which lends an element of peril to every project! Time and place are my portal into story, and I’m interested in a time when urban America was crowded and full of buildings we occupy today, yet the landscape beyond seemed almost infinite.

Carla Sozzani, 76, gallerist and retailer

Just as my partner, Kris Ruhs, and I revamped the then-unknown Corso Como area of Milan, we’re now putting our energy into the construction of a new studio for him, as well as the expansion of the Fondazione Sozzani [cultural center], both of which are in Bovisa, another old industrial neighborhood. I wanted to be an architect when I was young, but my father said, “No!”

Stephanie Goto, 47, architect

If my clients allow me to peel one eye away from their commissions, I’d like to dive deeper into the renovation of my own property in Connecticut, which includes the circa 1770 former home of Marilyn Monroe and a tobacco-and-milk barn that will house my studio.

Amalia Ulman, 35, visual artist and filmmaker

I’m beginning to write the script for my third feature film — probably my favorite part of the process, when I just need to close my eyes and see the film in my head. It’s the closest to a holiday because it feels like daydreaming.

Wim Wenders, 78, filmmaker

Several years ago, I started a project about the Swiss architect Peter Zumthor, who, along with others, designed the new Los Angeles County Museum of Art that’s being built now. The working title of the film is “The Secret of Places,” and it’s done in 3-D. My dream is to make a comedy one day. [ Laughs .] Seriously. [ Laughs again .] I’m working on it.

A painting of a pattern of triangular shapes in red, blue and orange.

Wendy Red Star, 43, visual artist

I’ve started highlighting Crow and Plateau women’s art history by making painted studies of parfleches, these 19th-century rawhide suitcases embellished with geometric designs. I’m learning so much about these women just by their mark making, but have only come across a few that have the name of the person who made it, so I’m titling my works by pulling women’s and girls’ names from the census records for the Crow tribe between 1885 and 1940.

Nick Ozemba, 32, and Felicia Hung, 33, designers, In Common With

Next month, we’re opening Quarters, a concept store and gathering space in TriBeCa that will feature our first furniture collection.

Bobbi Jene Smith, 40, dancer, choreographer and actress

My husband, Or Schraiber, and I are creating a work composed of solos for each dancer of L.A. Dance Project, where we’ve been residents for the past year and a half. We’ve had the unique opportunity to connect deeply with some of the dancers, and this — a gratitude poem for each of them — will be our culminating project. They’ll each be a few minutes long and characterized by physicality set against silence.

Editor’s note: The architect and designer Gaetano Pesce, whose comments are included in this piece, died on April 4 at age 84.

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Stepping Into the World of Dance

“We the People,” Jamar Roberts’s first dance for the Martha Graham Dance Company, finds the rage and resistance hidden in an upbeat score by Rhiannon Giddens.

In “Nail Biter,” a New York City premiere, the exacting choreographer Beth Gill explores her ballet roots and how to be in her body now.

The choreographer Emma Portner, who has spent her career mixing genres and disciplines , comes to ballet with an eye on its sometimes calcified gender relations.

A childhood encounter with an American soldier in Iraq led Hussein Smko to become a dancer. Now the artist performs on New York stages .

“Deep River” is in many ways an apt title for a dance work by Alonzo King, a choreographer fixated on flow .

Robert Garland has held many positions at Dance Theater of Harlem over many years. At long last, he has caught the most prized title: artistic director .

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Essay on Birds for Students and Children in 1000+ Words

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Nature of Birds

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Evolution of Birds

2. Adaptive Radiation

Anatomy and Physiology

2. Skeleton and Musculature

Behavior and Communication

2. Song and Vocalizations

3. Migration

Ecology and Conservation

2. Threats and Conservation

Notable Bird Species

2. Albatross

3. Hummingbirds

Birds Essay in English (500 Words)

The Wonder of Avian Adaptations

2. Beaks and Bills

3. Migration Marvels

The Symphony of Birdsong

2. Complex Learning

Ecological Significance

2. Pest Control

Conservation Challenges

2. Climate Change

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