Podcast Summary: The Book Case
Episode: Thomas Schlesser and the Art of Art History
Hosts: Charlie Gibson, Kate Gibson
Guest: Thomas Schlesser (author, art historian)
Date: August 28, 2025
Overview
In this engaging episode, Kate and Charlie Gibson explore the intersections of fiction, art history, and the act of seeing with French art historian and novelist Thomas Schlesser, author of Mona’s Eyes. The conversation delves into the book’s unique premise—a young girl at risk of losing her sight, taken by her grandfather to view 52 works of art over a year in Paris. The hosts also speak with Michael Reynolds, editor at Europa Editions, about the creative presentation of the art in the book’s design.
Main Discussion Points
1. Discovery and Setup of Mona’s Eyes
[00:37–04:07]
- The book came to the hosts’ attention via Roxanne Coady, a trusted bookseller, who recommended it for its unique blend of novel and art history.
- Key concept: A grandfather (Henri) opts for art over therapy to help his granddaughter Mona, who faces the threat of blindness.
- Henri’s method: Each week, they visit one of three major Parisian museums (the Louvre, Orsay, Pompidou) to deeply experience a specific work of art.
“If Mona is to lose her sight, he wants her to have beauty in her mind forever and ever.” — Kate Gibson [03:22]
- The book explores not just the biography of artworks, but teaches intentional, deep seeing.
2. Interview with Thomas Schlesser
[07:22–21:36]
a. The Origins of the Novel
- Schlesser started with the relationship—a child and her grandfather—rather than an intent to write a book about art.
- The art history elements are vehicles for deeper themes of human connection and emotion.
“The most important thing for me was really this fiction about this little girl and Henri.” — Thomas Schlesser [07:22]
- Inspiration for Henri’s character and methods came from an idealized conception, not direct personal experience.
“Everything in Mona’s Eye is, I would say, fictional. …My grandparents were very simple… they were not like Henri, not at all.” — Schlesser [08:41]
b. Choosing the Artworks
- Henri’s selections reflect his mix of classicism and curiosity.
- Schlesser describes balancing narrative flow vs. personal favorites; curating 52 works tied to weekly visits and three museums, providing unity in time and space (a nod to classical drama structure).
“At a very particular moment, I decided to focus only [on] 52 works, because that was like 52 weeks... I needed a concentration in the space and in the time.” — Schlesser [11:57]
- The works are presented chronologically, emphasizing Schlesser’s perspective that “art history is first of all history,” which aids the reader’s journey through time.
c. Research Process
- Deep personal familiarity with 19th-century works; less intimacy with older pieces required fresh visits and study.
- Sometimes digital reproductions revealed more detail than museum settings due to glare and protective glass.
“Sometimes when I was in front of the image of the work, for example on Google Art, that was better than in front of the work itself.” — Schlesser [14:44]
d. The Long Gestation
- The writing took over a decade, partly due to personal loss and the cathartic, compensatory creation of Mona's character.
- Schlesser also wrote and published other works during this time, using alternating projects as “oxygen” to stay creatively energized.
- Carefully crafted ekphrases (descriptive passages) posed a great challenge, particularly because he hoped to make the book accessible for blind and visually impaired readers.
“You can imagine how challenging it is to write a book which revolves around visual arts for blind readers.” — Schlesser [19:22]
e. If He Were to Lose His Own Sight
- Asked what he would do with a year left of vision, Schlesser replies:
“I would spend my year in front of faces, of human faces...in front of each human face, I have the impression to be in front of a work of art.” — Schlesser [20:30]
3. Reading and Interacting with the Book’s Art
[05:51–06:50, 23:52–31:39]
- The book’s paper edition includes a fold-out book jacket featuring images of all 52 artworks, serving as a visual companion.
- Editor Michael Reynolds elaborates on the design’s inception (borrowed from the French edition) and its intent to facilitate a shared, family-friendly, and cross-generational reading experience.
“The idea that the [book jacket] can be in some way sort of a map for that journey really appealed to us.” — Michael Reynolds [25:08]
- While some readers miss the fold-out initially, the jacket is labeled and pictured on the book’s back.
- Consideration for blind and visually impaired readers: Europa Editions is proud to be producing a braille edition, aligning with Schlesser’s vision of accessibility.
4. Broader Reflections on Art, Life, and Seeing
[33:37]
- Schlesser ends with a quote capturing the book’s essence:
“Art is what makes life more interesting than art.” — borrowed from Robert Filiou, [33:37]
- Schlesser sees this as the novel’s spirit: art as a lens that enriches life, not merely for its own sake.
Memorable Quotes and Moments
- “It’s art history wrapped inside a wonderful story.” — Charlie Gibson [04:07]
- “Mona was a kind of ideal compensation of this personal trial… she’s 10 years old in the novel and I spent 10 years of my life writing about her.” — Schlesser [16:37]
- “If you have the audio version of the book, you need a hardcover book jacket...Inside the book jacket are all 52 works of art.” — Charlie Gibson [05:51]
- “The idea or the possibility, the thought that the [book jacket] might end up on the wall of some 14-year-old reader's room was very appealing.” — Michael Reynolds [27:04]
Timestamps for Key Segments
- 00:37–04:07 — Episode setup & synopsis of Mona’s Eyes
- 07:22–21:36 — Interview with Thomas Schlesser (origins, selection, writing process, blindness, art-as-life)
- 23:52–31:39 — Interview with Michael Reynolds (book design, art reproduction, braille edition)
- 33:37 — Closing quote with Robert Filiou’s aphorism
Takeaway
The Book Case episode with Thomas Schlesser is a celebration of art, attentive seeing, and the emotional bonds between generations. Mona’s Eyes emerges not only as a touching novel but also as a practical guide to experiencing art with fresh eyes, made with an openness to all audiences—including those who cannot see. The episode is an inspired invitation to step outside the usual genres—and perhaps, to wander a museum with intention, curiosity, and heart.