February 2026

The Athenaeum is pleased to spotlight storyteller and artist Vita Murrow. Her work has been shaped by
a life of diverse cultural experiences, disciplines, and creative communities. Born in India and raised in
Minneapolis, she carries a deep sense of belonging to both places—an influence that shines through in
her writing. With a background spanning visual art, education, film, and children’s media, Murrow
approaches writing as an act of truth-telling, risk-taking, and exploring storytelling traditions from across
the globe. Her new book, The Little Book of Love, is a representation of this work and of Murrow
herself—showcasing the joy of love across languages and cultures.

Q: When and where were you born and raised?

I was born in Maharashtra, India and raised in Minneapolis, Minnesota. Both places are a warm hug of
belonging for me. Whether it’s my stovetop chai ritual and playlists of south Asian creatives and artists.
Or my love of winter and hidden Minnesota accent. (Want a “Pop” with that “hot dish?”).

Q: Tell me about your educational background?

I’ve long been a student of the arts. I grew up playing the harp, studying classical Indian Dance (Kathak)
and performing in community theater. After graduating from an Arts High School, I took a gap-year to
complete a term of national service. It was then that I discovered a love for schools and teaching
literacy. In the years that followed I nurtured two paths as a scholar. One as a studio artist earning a BFA
in Art school in Seattle. And another, as an educator receiving a master’s in teaching and literacy in NYC.

Q: What sort of work experience do you have? Did that experience influence your writing?

Having two paths as a student meant two paths as a professional. I’ve had the pleasure of serving as a
literacy clinician and directing school partnerships here in greater Boston. I co-wrote and created a short
Film (‘Dust’ Official selection in the 2008 NYFF), worked in the films department at Sesame Street and
trained as a stop motion animator. In all these settings I’ve had the opportunity to be a consumer of
media for children, and a creator. It’s connected me to the tradition and culture of storytelling in rich and varied ways. All of it influences me as a writer. I’m committed to telling the truth in my work and
that means understanding where I have come from. Interrogating the norms I hold presently. And
pushing myself to ask new questions and take risks. Writing is a lot like directing, which is a lot like
teaching, which is a lot of collaboration, which is the heart of my creative process. It’s all connected for
me.

Q: What is your favorite stop-motion film?

My favorite piece of classic stop motion film has to be one of my earliest experiences with the medium:
“A version of The Wind in the Willows from the 80’s.” A contemporary stop-motion piece that I continue to be inspired by is Passengers by Argentinian filmmaker Juan Pablo Zaramella, made from the aluminum material that covers wine bottles, pretty incredible work! I am of course deeply influenced by the work of Aardman Animations Studio in the UK where I studied. Creators of Wallace and Gromit, Shaun the Sheep and Creature Comforts to name a few of their iconic collections. Certainly the work of Portland’s Laika Studio: films like Coraline, Missing Link. Skellington Studio’s “The Nightmare Before Christmas,” and Shadow Machine’s Oscar winning Pinocchio.

Q: How did you find the Athenaeum?

When we moved here from NYC my mother-in-law was a member, and she would take our kids here
when they were little. Then a few years ago I had the delight of accepting a Massachusetts book award
honor at the State House. After the ceremony, some writer friends and I popped across to explore the
Athenaeum. I was applying for a grant at the time, and thought ‘If I get it, I’ll put some of it towards a membership’. In the end I didn’t get the grant but thought instead; “forget that I’m going to be a
member any way!”

Q: What appeals to you about the Athenaeum? 

I love being in downtown Boston. I had an office nearby for years, our kids went to school in Beacon
Hill, I feel continually inspired by the skyline, the parks, the people and the history. I am eager to support
cultural institutions in the area. To be a member of the Athenaeum is a way for me to honor the value of
scholarship, the work of writers, and invest in my community.

Q: What is your favorite spot in the building?

I love working on the quiet fifth-floor and having the sunset beside me in the winter. Or sitting on
terraces for lunch in warmer seasons. But my favorite spot must be the seating on the second floor
beside the statue of Nathaniel Bowditch because… his name marks my street! I live near where his son,
Jonathan Ingersoll Bowditch, had his home in Boston. I like to think that the Bowditch legacy of
exploration lingers in my own home. What were the great struggles of working on The Little Book of Love? The great joys?

The hardest part of working on the Little Book of Love was knowing we couldn’t represent all 7,000+
languages that mean so much, to so many, all over the world. The great joy of writing the book was
delving into the many words and the ways we are vulnerable with our feelings. Writing about love is
joyful! We should all be so lucky. An added joy was working with Illustrator Annelies Draws. I relished
sharing notes and mood boards with her and am so grateful for her incredible contributions as an artist
and visual storyteller.

Q: Do you have any projects on the horizon that you’re able to talk about here?

I am currently working on a graphic novel, together with my husband, Artist Ethan Murrow. As well as a
highly illustrated series with my publishing partners in the UK. Readers can also look forward to another
title centering kid empowerment. I also have a short film in development as a writer director.