Dave Eggers

We published and then after that, Lydia Davis' Samuel Johnson is indignant and Lydia was like a hero to all of us and said we could bring her to a new audience.

She went along with us for the ride and I found all those old proofs just the other day.

I got to design her cover and it was a David Byrne photograph that we used for her cover.

That was just like the dream of dreams.

You get to publish your hero,

with another hero's work on the cover and nobody's saying no, and you get to go to Reykjavik and check proofs on the printer floor, and then come back and get these boxes of this thing that you made.

You know how it is, it's more fun

as a publisher or a producer, I think, in a way, because you get an unadulterated pleasure of helping somebody else's work and be the presenter of it, as opposed to all the complicated feelings of your own stuff.

Right?

Oh, absolutely.

Right.

No, my dream, honestly, my wife knows this, we've said this for years, when if some sort of version of another life for us would be combination movie theater where we get to show everything we want in a recording studio where, you know, it's affordable and we get to sort of pop in and just watch the process sometimes.

Wouldn't that be, but we wouldn't have to work.

Yeah, yeah.

Like you're just wandering through like a ghost.

Because I love seeing iterations in music studio.

I think it's far more interesting as a fly on the wall than being like on a film set, which is, I think, if you have nothing to do, it's the most boring place to be in the world if you don't have a job.

But I think being in a music studio, things move a lot faster, I think.

I was a big Elvis Costello fan and I remembered when he came back with King of America and they did some live tracks on that.

his original The Attractions did a few songs and they were live.