Aaron Tracy

I read depositions.

I read a lot on the subject.

And when I finished reading, I found to my surprise that I could still watch the films.

And this seemed hugely interesting to me, that there was something happening here that was complex and sort of upsetting.

And I began to think about this problem.

And in early moments of writing, I was just sort of looking for someone to tell me what to do, which now is a dynamic I'm very familiar with.

As the author of this book, people just want me to tell them what to do.

The book is not, that's not really what it's trying to do.

What it's trying to do more is look at what was happening to me in that moment when I was consuming the Polanski films, knowing what I know.

It was talking about what's occurring there.

What happens to the audience member?

Is the art changed?

Is there something immoral in that moment?

Does it matter?

I was trying to be descriptive of the problems.

This is what it's like to consume work knowing what we know.

You know, I do have some ideas of what people could or might do, but the book is more interested in how we live through this problem.

I'm curious, is there a difference in your mind between consuming the work of artists who committed crimes against people versus those who just said bigoted things?

Roald Dahl was a bit of a jerk to the people who were closest to him.

But he's not accused of any sort of actual physical abuse like so many of these artist monsters are.