WEBVTT - CZM Book Club: Babang Luksa

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<v Speaker 1>Aol Zone Media.

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<v Speaker 2>Book club book club book club. That's the new jingle. Hey,

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<v Speaker 2>I figure if I set up a bit where I

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<v Speaker 2>use a new jingle every single time I introduced the episode,

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<v Speaker 2>then I'll regret it in probably about a month. But

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<v Speaker 2>this is cool Zone Media book Club, which is a

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<v Speaker 2>book club run by cool Zone Media. I'm your host,

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<v Speaker 2>Markaret Kiljoy and with me today as my guest is

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<v Speaker 2>Mi a long Hello.

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<v Speaker 3>Hello, I am booking, I am clubbing, I am pounding

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<v Speaker 3>the tables going book club.

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<v Speaker 4>This is an exciting moment.

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<v Speaker 2>Yeah, well, this is a book club kind of in

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<v Speaker 2>some ways it'll have we're still it'll develop as it goes.

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<v Speaker 2>But right now it's a story club where I read

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<v Speaker 2>you a story. I'm going to read me a story,

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<v Speaker 2>and Mia, by proxy is you the listener.

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<v Speaker 4>And I feel so powerful.

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<v Speaker 2>I know you represent everyone. Wow, that's wild. That's a

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<v Speaker 2>I think that makes you more powerful than most elected officials.

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<v Speaker 4>I have become god. Oh no, someone must kill me now.

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<v Speaker 2>Okay, someone has actually come and killed Mia, so I'm

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<v Speaker 2>gonna have to do most of the rest of this

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<v Speaker 2>on my own. That was a joke, MIAs.

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<v Speaker 4>Still yeah, no, I'm not dead yet.

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<v Speaker 2>Unless you're listening to this like seventy years in the future,

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<v Speaker 2>in which case and we're just talking to you from

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<v Speaker 2>this is okay, whatever, Okay, I'm gonna read a fucking story.

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<v Speaker 2>And this is the first week that we are reading

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<v Speaker 2>a story that, you know, we started the book club

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<v Speaker 2>by me reading a novella of mine called The Lama

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<v Speaker 2>Slaughter or The Lion, and then I've been collecting stories

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<v Speaker 2>from different authors that relate to the themes of the

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<v Speaker 2>show It could Happen Here, that talk about people working

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<v Speaker 2>together or the world changing due to climate and other crises.

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<v Speaker 2>And I'm really excited about the story that I'm gonna

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<v Speaker 2>read today because I think it I think it kind

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<v Speaker 2>of helps set the tone for a what a slow apocalypse,

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<v Speaker 2>like what we're dealing with is really all about. And

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<v Speaker 2>I think we're all living through times where we're gonna

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<v Speaker 2>have to start blurring the lines of what is science

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<v Speaker 2>fiction and what is reality? You know.

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<v Speaker 4>Yeah, So.

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<v Speaker 2>This this story is by Nicassio Andres red and it's

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<v Speaker 2>called Lebong Lucsa. Salt had crept in while he was away,

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<v Speaker 2>and now the freshwater wetlands of Gino's childhood are a marsh,

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<v Speaker 2>brackish and fickle. There is the soccer field where he'd

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<v Speaker 2>stained his knees. It had been a low, dry rise

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<v Speaker 2>of earth bracketed by mud and cord grass, and today

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<v Speaker 2>is impassable, a thicket of cattails and algae, skinned water,

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<v Speaker 2>a humming choir of insects. And here the Jiffy lube

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<v Speaker 2>where Gino got his first job, and a stand of

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<v Speaker 2>trees outside it where Gino smoked his first cigarettes. A

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<v Speaker 2>line of fat old maples that in the summer had

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<v Speaker 2>dropped their seeds in spinning helicopter wings by the whirling hundreds,

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<v Speaker 2>and in the autumn had lit up like match heads,

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<v Speaker 2>screaming into the sky first week of June. Now and

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<v Speaker 2>they're not doing much of anything, their branches almost bare, bark,

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<v Speaker 2>corpse gray from drinking salt water. Around the corner to

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<v Speaker 2>Mifflin Street, past the strip bones of the gas station,

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<v Speaker 2>up two blocks to the high tide line of the

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<v Speaker 2>sand bagged steps of the shop, and go the empty

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<v Speaker 2>lot opposite repurposed into a dock for the neighborhood fleet.

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<v Speaker 2>Half a dozen rowboats with their oars padlocked, a thwart

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<v Speaker 2>one eight seater bow rider with yellowing upholstery, one jet

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<v Speaker 2>ski and as they come into dock the roofed pontoon

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<v Speaker 2>that Gino caught a ride on, a habitat for humanity

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<v Speaker 2>donation forty Benji, the helmsman, get out of here, you know,

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<v Speaker 2>sucking his teeth. We got a problem, naw man nah.

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<v Speaker 2>Gino digs out his wallet.

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<v Speaker 4>Cash.

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<v Speaker 2>Yeah, I figured y'all get a lot of outages. Benji

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<v Speaker 2>counts through the ones and fives more power outages than power.

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<v Speaker 2>We on generators, if we on shit, Benji shakes his head.

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<v Speaker 2>Is what it is? You need directions? I'm good, Thanks,

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<v Speaker 2>I grew up around here. The boardwalk from the boats

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<v Speaker 2>to dry asphalt is made of wooden shipping pallets, new

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<v Speaker 2>ones stacked on top of old when they've started to

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<v Speaker 2>molder as the mud takes them. Gino slings his bag

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<v Speaker 2>over his shoulder and walks across with his eyes on

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<v Speaker 2>his feet, distrustful of the dark patches where it looks rotted.

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<v Speaker 2>Through the street is a relief, even with sedge and

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<v Speaker 2>woolgrass cutting up through the cracks in the pavement. For

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<v Speaker 2>the first few yards past the water line, the distance

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<v Speaker 2>from the stop and go to his childhood home is

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<v Speaker 2>the length of time it took to eat a bag

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<v Speaker 2>of spicy pork skins and throw the evidence in a

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<v Speaker 2>neighbor's garbage can, so his mom wouldn't know he'd been

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<v Speaker 2>ruining his dinner, but he'd measured it in a teenage

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<v Speaker 2>boy's appetite. And the walk seemed quicker now. The street's narrower,

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<v Speaker 2>the telephone poles shorter, the sky closer, everything more squat,

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<v Speaker 2>and the gritty smell of the marsh clinging on even

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<v Speaker 2>two blocks up the street. Still, it's late in the

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<v Speaker 2>afternoon and the sun on the clouds is starting to blush.

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<v Speaker 2>So folks are setting themselves up on front stoops and

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<v Speaker 2>threes and sixes, with cigarettes and beer bottles and babies

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<v Speaker 2>on bouncing knees, their friendly racket sounding to Gino something

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<v Speaker 2>like a first language, so familiar, unheard for years. He

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<v Speaker 2>gets a couple nods and throws them back, but nobody

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<v Speaker 2>knows him on sight. He turns the corner on South

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<v Speaker 2>Bosnel Street. The sidewalk is broken in all the same

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<v Speaker 2>spots he didn't know he knew until he sees them again,

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<v Speaker 2>and then he knows every fissure and crack, every dog

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<v Speaker 2>pole mortalized in wet cement. No parked cars, a lot

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<v Speaker 2>more boarded updoors and windows than there used to be,

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<v Speaker 2>although there had always been some. There were never any

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<v Speaker 2>front yards in the neighborhood, all the basement windows looking

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<v Speaker 2>directly out onto the sidewalk. Now every house on the

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<v Speaker 2>road that still looks occupied as a rain barrel out front,

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<v Speaker 2>and a couple have one of those larger galvanized metal

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<v Speaker 2>cisterns that look like fat, little grain silos. There's a

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<v Speaker 2>line of grass growing right down the middle of the

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<v Speaker 2>street s edge, probably a bad sign on what used

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<v Speaker 2>to be high ground. And then inevitably there is number

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<v Speaker 2>twenty seventeen. He's been gone almost twenty years, and it

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<v Speaker 2>looks not the same, but like a faded photograph of itself.

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<v Speaker 2>Gino doesn't know if it's looked like that for a while,

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<v Speaker 2>or if it happened all at once. If a year

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<v Speaker 2>ago when his father died the color drained from the

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<v Speaker 2>house's facade, he could still turn around. It's not that

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<v Speaker 2>he hasn't thought about his father's death or how it

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<v Speaker 2>would be to come home and see the place without him,

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<v Speaker 2>but he's been able to think about it from a

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<v Speaker 2>distance know it without seeing it, and that's worked for

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<v Speaker 2>him overall. But from the bottom of the steps and

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<v Speaker 2>through the screen door, there's his mother's voice telling someone

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<v Speaker 2>to bring out the good plates, the ones for company,

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<v Speaker 2>so much clearer than her voice over the phone, telling

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<v Speaker 2>him she'd understand if he couldn't make the trip, like

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<v Speaker 2>she was forgiving him for disappointing her even before he

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<v Speaker 2>did it. Gino wants very much to be someone who

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<v Speaker 2>doesn't need to be forgiven, so up the stairs he goes.

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<v Speaker 2>Gino was five years old when the bulge of the

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<v Speaker 2>schoolkil river met the fat and trickle of cobs creaked

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<v Speaker 2>to the east, and together they fingered their way west

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<v Speaker 2>through parkways and back yards to touch the gutted Delaware.

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<v Speaker 2>It was then declared that everything south of the Roosevelt

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<v Speaker 2>Expressway was officially part of the Greater Chesapeake Floodplain. The

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<v Speaker 2>majority of Philadelphia was under at least six inches of water,

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<v Speaker 2>so the entirety of it was legally classified it as inundated.

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<v Speaker 2>The news his folks, every adult he knew, kept track

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<v Speaker 2>of the losses. The city took bids on where to

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<v Speaker 2>relocate the Liberty Bell and crowd funded the removal and

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<v Speaker 2>transport of the arch at the foot of Chinatown, the

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<v Speaker 2>neighborhood threw up barriers around the Pentecostal church on Snyder

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<v Speaker 2>Avenue and brought up in replanted mangroves from nurseries on

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<v Speaker 2>the Jersey Shore. They were losing more ground than they saved, though,

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<v Speaker 2>for as long as he could remember. When he was eight,

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<v Speaker 2>the block half a mile away where his mom grew

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<v Speaker 2>up was evacuated, and his Grandpap moved in with them.

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<v Speaker 2>Slept on the couch. His sharp pressed slacks and red

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<v Speaker 2>striped shirts displaced Gino's clothes in the closet. His basketball

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<v Speaker 2>games and bachi club pushed Gino out of the afternoons

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<v Speaker 2>he'd spent with his dad, and his voice, old Philly

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<v Speaker 2>short vowels running up into each other, filtered into every

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<v Speaker 2>room and out the front door onto the stoop every day,

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<v Speaker 2>adding to the to his eulogy for the city. Grief

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<v Speaker 2>was the background static of Gino's childhood, every one else's

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<v Speaker 2>grief for a place he'd never been. Gino's family was

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<v Speaker 2>in West Pasiunk, a little too distant from the heart

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<v Speaker 2>of old Italian Philadelphia to benefit from the touristing nostalgia

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<v Speaker 2>and too black and brown for their one sob story,

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<v Speaker 2>among many to generate charitable donations, like for the black

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<v Speaker 2>folks down in king Sessing Up in Kensington. The official

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<v Speaker 2>plan was to leave it to rod in the water,

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<v Speaker 2>but the less than a mile square from twentieth Street

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<v Speaker 2>to twenty sixth sat on a rise known only to

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<v Speaker 2>the kids who'd biked it, pushing and sweating up one

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<v Speaker 2>way and gliding legs storked out down the other, while

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<v Speaker 2>the rest of the neighborhood went to algae and rot.

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<v Speaker 2>Gino's old block and the couple dozen around it became

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<v Speaker 2>an island in the marsh. It was almost lucky a

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<v Speaker 2>mile in any direction. The government offered to buy homeowners

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<v Speaker 2>out of their property for less than a quarter of

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<v Speaker 2>how much it would cost them to start over somewhere

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<v Speaker 2>further inland. Most people took it because, in the choice

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<v Speaker 2>between an insultingly low offer and nothing at all, they

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<v Speaker 2>figured it was better not to wait around for the

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<v Speaker 2>insulting offer to expire. Up in the neighborhood, basements flooded,

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<v Speaker 2>tap water went funny, electricity flickered and failed, but no

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<v Speaker 2>buyout offers came and even as everything else changed, the

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<v Speaker 2>old rule still held true. If you didn't get out

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<v Speaker 2>of the neighborhood by the time you were eighteen, then

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<v Speaker 2>chances were you were never getting out. Gino left when

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<v Speaker 2>he was eighteen. Gino's older brother, Stevie, got married at eighteen.

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<v Speaker 2>Stevie's in his forties now and on the couch this morning,

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<v Speaker 2>his knees as high as his chest because his spot

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<v Speaker 2>on the far corner has sagged under the years he's

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<v Speaker 2>spent there. There's a stack of dishes and cutlery on

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<v Speaker 2>the coffee table in front of him. He's the ghost

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<v Speaker 2>of their dad, heavy brows, a twice broken nose, an

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<v Speaker 2>ancient thick sweater despite the heat, and a smile that'll

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<v Speaker 2>never let you in on the joke. More hymn than

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<v Speaker 2>their mom, some more Filipino than Italian, and Gino never

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<v Speaker 2>pegged as either remembers again to resent him for it. Jesus,

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<v Speaker 2>you actually showed, Stevie says to him. There's a pause

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<v Speaker 2>where Gino's supposed to say something biting, but he doesn't

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<v Speaker 2>rise to it. Stevie shrugs. He got about a minute

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<v Speaker 2>to turn around and leave before the rest notice you're here,

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<v Speaker 2>Eugenio Stevie's husband frozen halfway down the stairs. Got some

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<v Speaker 2>fucking nerves showing up here. Kevin Gino says he hasn't

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<v Speaker 2>set his bag down yet. You look good, change your hair,

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<v Speaker 2>don't tell me how I fucking look you. Geno his

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<v Speaker 2>name Ricochet, is down the hall and around the kitchen,

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<v Speaker 2>then back out into the living room, carried on the

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<v Speaker 2>high voices of his nieces, who make him hug them.

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<v Speaker 2>One of them takes his bag upstairs, whispering something strident

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<v Speaker 2>to her dad on the way. Jasmine. Geno thinks, the

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<v Speaker 2>one with freckles is Jasmine. The other one is Roxy,

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<v Speaker 2>who's telling him about what they're making in the kitchen,

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<v Speaker 2>what they had to substitute in the ponset, what they

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<v Speaker 2>grew in the community garden. Cousins, assorted children, neighborhood aunties,

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<v Speaker 2>and their husband cycle into the room with dry kisses

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<v Speaker 2>and slaps on the shoulder, telling him he hasn't changed

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<v Speaker 2>at all, telling him he's gained weight. Kevin slips behind

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<v Speaker 2>them all and into the kitchen, and Gino tells everyone

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<v Speaker 2>that he needs to go volunteer to help out his mom.

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<v Speaker 2>Before word spreads that he rolled up to her house,

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<v Speaker 2>expecting to stand around being waited on. He steps heavy

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<v Speaker 2>down the short hall back to the kitchen, less to

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<v Speaker 2>give Kevin and his mom warning he's coming, and more

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<v Speaker 2>to spare himself whatever they were saying about him, which

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<v Speaker 2>might have been a sound strategy in another family. Don't know,

0:12:35.240 --> 0:12:38.480
<v Speaker 2>I bothered, Kevin is saying, from less of a distance.

0:12:38.520 --> 0:12:41.679
<v Speaker 2>Now Gino can see white in his hair, and that

0:12:41.760 --> 0:12:46.400
<v Speaker 2>pinched line between his brow never quite disappears. Kevin spots

0:12:46.440 --> 0:12:48.720
<v Speaker 2>Gino in the doorway and turns back to tell his

0:12:48.760 --> 0:12:51.800
<v Speaker 2>mother in law, it's a cruel thing to do to you, Francesca.

0:12:52.360 --> 0:12:54.640
<v Speaker 2>God knows he's just going to turn around and leave tomorrow.

0:12:56.080 --> 0:12:59.040
<v Speaker 2>His mom, her small hands shining with oil inflecked with

0:12:59.080 --> 0:13:03.679
<v Speaker 2>carrot skins, turns and sees him well. She says, will

0:13:03.720 --> 0:13:08.320
<v Speaker 2>you head out tomorrow? Hey ma? Nah, No, I took

0:13:08.320 --> 0:13:10.920
<v Speaker 2>the week off. Takes about a day to get back, though,

0:13:11.040 --> 0:13:13.680
<v Speaker 2>took a day to get here, so I can stay

0:13:13.679 --> 0:13:16.959
<v Speaker 2>a couple days. She looks him up and down, then

0:13:17.000 --> 0:13:19.600
<v Speaker 2>away just as quickly and goes back to chopping a lemon.

0:13:20.120 --> 0:13:22.800
<v Speaker 2>He adds, right now there's a break between the last

0:13:22.800 --> 0:13:25.280
<v Speaker 2>project and the shoreline thing in Maine. I don't know

0:13:25.320 --> 0:13:28.600
<v Speaker 2>if you've heard about it real. Glad you could squeeze

0:13:28.640 --> 0:13:31.520
<v Speaker 2>us into your busy schedule, Kevin says, about a year

0:13:31.600 --> 0:13:34.120
<v Speaker 2>late for the funeral, but it's the thought that counts right.

0:13:34.960 --> 0:13:37.319
<v Speaker 2>He leaves a heaping bowl of rice under one arm

0:13:37.320 --> 0:13:41.040
<v Speaker 2>and a pan of lasagna under the other. For a

0:13:41.080 --> 0:13:44.400
<v Speaker 2>long minute, Gino just watches his mother work, reaching for

0:13:44.440 --> 0:13:47.679
<v Speaker 2>this and that, washing her hands. There's less of her

0:13:47.720 --> 0:13:51.360
<v Speaker 2>in reality than there had been in his imagination. She

0:13:51.440 --> 0:13:53.640
<v Speaker 2>tells him the garlic bread is ready, and he falls

0:13:53.640 --> 0:13:56.360
<v Speaker 2>into the routine of ducking outside to turn off the gas,

0:13:56.720 --> 0:13:59.320
<v Speaker 2>grabbing the wire basket on top of the fridge, a

0:13:59.360 --> 0:14:01.960
<v Speaker 2>cloth from the drawer on the left, and plucking the

0:14:02.000 --> 0:14:05.440
<v Speaker 2>steaming slices from the oven pan, folding them under the cloth.

0:14:05.520 --> 0:14:08.040
<v Speaker 2>With the buttery smell of a thousand ancient dinners. Around

0:14:08.080 --> 0:14:11.920
<v Speaker 2>the kitchen table. There's a lot of chatter coming from

0:14:11.920 --> 0:14:14.320
<v Speaker 2>the front room, and someone comes in and out of

0:14:14.320 --> 0:14:16.400
<v Speaker 2>the back door to bring in the folding chairs that

0:14:16.440 --> 0:14:19.000
<v Speaker 2>have been rusting out there since before Gino was born.

0:14:20.320 --> 0:14:22.880
<v Speaker 2>Gino hovers in the middle of the kitchen. He's spent

0:14:22.960 --> 0:14:25.720
<v Speaker 2>an inordinate amount of time over the past weeks thinking

0:14:25.760 --> 0:14:28.760
<v Speaker 2>about what he'd say to her. Even in his imagination,

0:14:28.920 --> 0:14:33.040
<v Speaker 2>he never quite got it right. Finally, he asks, is

0:14:33.040 --> 0:14:36.120
<v Speaker 2>there anything else to do? His mom waves a hand

0:14:36.120 --> 0:14:40.320
<v Speaker 2>at him without turning around. Take those out there, okay,

0:14:40.560 --> 0:14:44.920
<v Speaker 2>and then he tries, I'm sorry, ma for what he's

0:14:44.960 --> 0:14:47.560
<v Speaker 2>wiping down the counter now piling pans and ladles in

0:14:47.600 --> 0:14:52.280
<v Speaker 2>the sink. Or Gino takes a couple breaths. He's feeling

0:14:52.320 --> 0:14:54.920
<v Speaker 2>a little sick, which isn't the same as feeling sorry,

0:14:54.960 --> 0:14:57.240
<v Speaker 2>but it is close enough that he's sure it is

0:14:57.280 --> 0:15:01.040
<v Speaker 2>what he should say. I should have been here last year.

0:15:02.320 --> 0:15:05.000
<v Speaker 2>His mom is brisk, business like with her hands. She

0:15:05.040 --> 0:15:07.600
<v Speaker 2>shakes her head. You were gone a long time before

0:15:07.640 --> 0:15:11.160
<v Speaker 2>that you knew you weren't coming back, she says it, plainly,

0:15:11.400 --> 0:15:33.440
<v Speaker 2>without accusation, right, Gino says okay. He carries the basket

0:15:33.440 --> 0:15:36.440
<v Speaker 2>of bread into the front room. Out front, there are

0:15:36.480 --> 0:15:39.760
<v Speaker 2>people everywhere on mismatched chairs, kids cross legged on the floor,

0:15:40.040 --> 0:15:42.920
<v Speaker 2>and not enough plates for everyone. A neighbor comes in

0:15:42.920 --> 0:15:44.920
<v Speaker 2>the door with a package of paper plates to make

0:15:45.000 --> 0:15:48.480
<v Speaker 2>up the difference. Stevie gestures Geno over to a spot

0:15:48.560 --> 0:15:50.520
<v Speaker 2>he's saved on the couch, and their mom comes in

0:15:50.560 --> 0:15:53.640
<v Speaker 2>and settles herself into the big, cracked leather armchair that

0:15:53.760 --> 0:15:57.160
<v Speaker 2>used to be their dad's. There's a moment where everyone pauses,

0:15:57.240 --> 0:15:59.960
<v Speaker 2>leaning over their plates. The youngest kid in the room

0:16:00.200 --> 0:16:02.480
<v Speaker 2>asks if they can eat now, and Uncle Lenny turns

0:16:02.480 --> 0:16:06.200
<v Speaker 2>to Gino's mom and says, hold up, Francesca, you want

0:16:06.200 --> 0:16:09.200
<v Speaker 2>to say something. She says yes and puts her plate

0:16:09.240 --> 0:16:11.640
<v Speaker 2>down on her lap. She'd insisted on taking one of

0:16:11.640 --> 0:16:14.280
<v Speaker 2>the paper plates. She runs a quick hand over the

0:16:14.360 --> 0:16:17.320
<v Speaker 2>arm of the chair. It's strange to see her in it.

0:16:17.320 --> 0:16:20.240
<v Speaker 2>It's strange to see her. I hear it's not always

0:16:20.280 --> 0:16:22.360
<v Speaker 2>easy to get here across the water these days, and

0:16:22.400 --> 0:16:25.120
<v Speaker 2>it's nice to see you. Who did? She nods at

0:16:25.160 --> 0:16:28.200
<v Speaker 2>some folks eu Gino didn't know had moved away. The

0:16:28.240 --> 0:16:30.320
<v Speaker 2>house is always better with a whole lot of people

0:16:30.320 --> 0:16:33.160
<v Speaker 2>in it, even if it's a little crowded. Nato and

0:16:33.200 --> 0:16:35.280
<v Speaker 2>I moved in here him a few months before Stevie

0:16:35.320 --> 0:16:38.240
<v Speaker 2>was born, all the way across town for an extra bedroom.

0:16:38.640 --> 0:16:40.960
<v Speaker 2>When we had Eugenio and he wanted his own room.

0:16:41.120 --> 0:16:43.680
<v Speaker 2>Nato told him, you can make a down payment, then

0:16:43.720 --> 0:16:46.800
<v Speaker 2>you get your own room. There's some laughter in Gino's direction.

0:16:47.640 --> 0:16:50.480
<v Speaker 2>His mom turns to her own brother and Lenny, you

0:16:50.560 --> 0:16:53.040
<v Speaker 2>know our dad, God rest him. He didn't like me

0:16:53.080 --> 0:16:55.480
<v Speaker 2>taking up with Nato, didn't like us moving away from

0:16:55.480 --> 0:16:58.600
<v Speaker 2>the old neighborhood. And we had some conversations about all that.

0:16:59.680 --> 0:17:03.000
<v Speaker 2>Lenny chuckles, incredulous that what you want to call it?

0:17:04.400 --> 0:17:07.960
<v Speaker 2>All right, she says, we had some loud conversations about

0:17:07.960 --> 0:17:10.679
<v Speaker 2>all that, But then give it ten twenty years and

0:17:10.760 --> 0:17:13.040
<v Speaker 2>him and Nato were best goddamn friends, getting up to

0:17:13.040 --> 0:17:16.240
<v Speaker 2>all sorts of trouble together here in this house. When

0:17:16.280 --> 0:17:18.920
<v Speaker 2>Dad passed, it was a mess, you know what I mean.

0:17:19.359 --> 0:17:22.240
<v Speaker 2>I wasn't ready for that. She looks at Gino for

0:17:22.280 --> 0:17:25.960
<v Speaker 2>a moment, then at Stevie and your father. He held

0:17:26.000 --> 0:17:29.159
<v Speaker 2>me up and gave me ways to say goodbye. We

0:17:29.200 --> 0:17:32.040
<v Speaker 2>did this for my dad the year after. And if

0:17:32.040 --> 0:17:33.560
<v Speaker 2>anyone said it was a little strange to have a

0:17:33.600 --> 0:17:36.399
<v Speaker 2>babang lusa for some old Italian from South Philly, then

0:17:36.400 --> 0:17:39.399
<v Speaker 2>they had to have a loud conversation with me. She

0:17:39.480 --> 0:17:43.080
<v Speaker 2>clutches a hand on Lenny's knee. This year, us of

0:17:43.119 --> 0:17:46.560
<v Speaker 2>all held me up, So let's eat and say goodbye

0:17:46.640 --> 0:17:50.359
<v Speaker 2>to Nato. Kevin and a cousin who Gino couldn't place

0:17:50.400 --> 0:17:53.479
<v Speaker 2>take charge of dishing out food. There's a massive salad

0:17:53.520 --> 0:17:55.879
<v Speaker 2>that he hadn't noticed before, weighed down by a mount

0:17:55.880 --> 0:17:59.440
<v Speaker 2>of black olives and grated parmesan. The lasagna is meatless,

0:17:59.440 --> 0:18:01.920
<v Speaker 2>but the pansup beyond his chicken and liver. And there's

0:18:01.960 --> 0:18:04.480
<v Speaker 2>something that smells like a dobo, even if it doesn't

0:18:04.480 --> 0:18:07.520
<v Speaker 2>look like it. Jasmine and Roxy start a folk war

0:18:07.560 --> 0:18:10.280
<v Speaker 2>over the best looking corner slice of lasagna, which Kevin

0:18:10.320 --> 0:18:13.639
<v Speaker 2>settles by taking it for himself. Gino lets mostly everyone

0:18:13.680 --> 0:18:15.840
<v Speaker 2>be served before him while he tries to unclench his

0:18:15.880 --> 0:18:20.359
<v Speaker 2>hands and his jaw from his left. Lenny shovels all

0:18:20.359 --> 0:18:22.480
<v Speaker 2>the olives from his own plate onto Gino's an old

0:18:22.560 --> 0:18:25.520
<v Speaker 2>joke he'd forgotten they shared. Good to have you around here,

0:18:25.600 --> 0:18:28.560
<v Speaker 2>Lenny says. Can't get anyone else to take those off

0:18:28.560 --> 0:18:32.120
<v Speaker 2>your hands, not all of them at once. I got

0:18:32.119 --> 0:18:34.840
<v Speaker 2>to do two here, three, there, hit five, six plates.

0:18:35.040 --> 0:18:39.080
<v Speaker 2>It's a logistical nightmare. That's rough man. Luckily I'm a

0:18:39.080 --> 0:18:42.480
<v Speaker 2>logistics guy. Oh yeah, you uh still with the uh?

0:18:42.520 --> 0:18:46.960
<v Speaker 2>What's the thing? Army Corps of Engineers yeah, Gino catches

0:18:47.040 --> 0:18:51.320
<v Speaker 2>Lenny's searching Look almost ten years now, he offers. Roxy

0:18:51.320 --> 0:18:54.280
<v Speaker 2>breaks off talking to the neighbor kids and shoots Stephen, accusing, Look,

0:18:54.840 --> 0:18:59.520
<v Speaker 2>Uncle Gino's in the army. No, Gino answers for her cors.

0:18:59.520 --> 0:19:03.920
<v Speaker 2>Mostly see, we do infrastructure projects, building stuff. They did

0:19:03.920 --> 0:19:08.240
<v Speaker 2>the levees downtown. You worked on that, Roxy lights up.

0:19:08.560 --> 0:19:10.399
<v Speaker 2>The levees would have been big news in the city

0:19:10.400 --> 0:19:12.440
<v Speaker 2>when she was a kid. They're half the reason their

0:19:12.480 --> 0:19:16.639
<v Speaker 2>little island is still above water. No, Kevin says, he

0:19:16.760 --> 0:19:19.639
<v Speaker 2>was long gone, but the mail still came. Then he

0:19:19.720 --> 0:19:22.800
<v Speaker 2>sent you postcards from all his little projects. When was

0:19:22.840 --> 0:19:26.160
<v Speaker 2>the levee? What year was that? Hmm? Roxy looks uncomfortable,

0:19:26.359 --> 0:19:30.040
<v Speaker 2>but Jasmine puts in that she was in sixth grade, right,

0:19:30.200 --> 0:19:33.840
<v Speaker 2>big year. You were in that inner city youth boxing thing, Jess.

0:19:34.600 --> 0:19:37.080
<v Speaker 2>She made the quarter finals. Where were you that time?

0:19:37.080 --> 0:19:40.600
<v Speaker 2>Eugenio Gino isn't sure what year Jasmine was in the

0:19:40.640 --> 0:19:43.359
<v Speaker 2>sixth grade or exactly how old she is now, but

0:19:43.400 --> 0:19:46.800
<v Speaker 2>he can see Kevin waiting for him to ask. Connecticut.

0:19:46.840 --> 0:19:51.360
<v Speaker 2>He says, coastal restoration. Oh yeah, how'd that work out

0:19:51.400 --> 0:19:56.320
<v Speaker 2>for Connecticut? Come on, keV, says Stevie. Gino says, not bad.

0:19:56.400 --> 0:20:01.280
<v Speaker 2>Last I heard, I've seen worse. Yeah, me too, Lenny says,

0:20:01.440 --> 0:20:04.399
<v Speaker 2>and jerks his chin at the front window. Everyone laughs.

0:20:04.960 --> 0:20:09.240
<v Speaker 2>Gino nods, which is close enough to laughing. Another neighbor,

0:20:09.359 --> 0:20:11.560
<v Speaker 2>a big guy whose name Gino can't come up with,

0:20:11.720 --> 0:20:15.280
<v Speaker 2>asks use guy's got work planned down here, and the

0:20:15.280 --> 0:20:18.959
<v Speaker 2>woman next to him, his wife maybe, says oh, they

0:20:18.960 --> 0:20:22.320
<v Speaker 2>should put up boardwalks, and somebody else we've been saying

0:20:22.400 --> 0:20:24.919
<v Speaker 2>there's plenty of high enough ground for boardwalks to connect

0:20:24.960 --> 0:20:28.880
<v Speaker 2>up to downtown. They gonna do that, Gino, They don't

0:20:28.880 --> 0:20:30.960
<v Speaker 2>really tell me that kind of thing. I just keep

0:20:31.000 --> 0:20:33.760
<v Speaker 2>the truck and everything running. I'm a you know what

0:20:33.800 --> 0:20:37.119
<v Speaker 2>I mean, A glorified mechanic. He trails off, and his

0:20:37.160 --> 0:20:41.080
<v Speaker 2>brother laughs. Please. Stevie says, they're not gonna do shit.

0:20:41.400 --> 0:20:44.960
<v Speaker 2>I mean, sorry, but you're not right. The levee was

0:20:44.960 --> 0:20:50.200
<v Speaker 2>what eight years back and nothing since that they gave up. Francesca,

0:20:50.240 --> 0:20:54.800
<v Speaker 2>who had been quiet eating, says they did, but that's okay.

0:20:55.560 --> 0:20:57.440
<v Speaker 2>Everyone is allowed to give up when they got a

0:20:58.520 --> 0:21:01.560
<v Speaker 2>from the tension in the room. A popular statement, but

0:21:01.600 --> 0:21:06.560
<v Speaker 2>nobody argues her on it. After a second someone brings

0:21:06.640 --> 0:21:09.000
<v Speaker 2>up the NBA finals and how piss Nato would have

0:21:09.000 --> 0:21:11.520
<v Speaker 2>been that the Raptors made it this far again, and

0:21:11.560 --> 0:21:14.399
<v Speaker 2>then his general grudge against Canadian teams in the NBA,

0:21:14.960 --> 0:21:17.800
<v Speaker 2>and then his earnest incompetence on the court himself as

0:21:17.840 --> 0:21:20.520
<v Speaker 2>a young man. And then a picture is brought out

0:21:20.560 --> 0:21:23.240
<v Speaker 2>of a shoe box, and it's Gino, perhaps three years old,

0:21:23.280 --> 0:21:25.560
<v Speaker 2>with a bowl cut and a look of childish ecstasy

0:21:26.119 --> 0:21:29.200
<v Speaker 2>up on his father's shoulders, his father's hands holding up

0:21:29.480 --> 0:21:33.240
<v Speaker 2>Gino's chubby, childlike legs, Gino's arms up at the end

0:21:33.240 --> 0:21:36.080
<v Speaker 2>of an arc, a basketball in the air, suspended in

0:21:36.119 --> 0:21:39.200
<v Speaker 2>the moment before it fell short of the net. Gino

0:21:39.320 --> 0:21:41.280
<v Speaker 2>ducks out to sit on the front stoop and finds

0:21:41.320 --> 0:21:43.800
<v Speaker 2>a pack of Stevie's cigarettes where he's always left them,

0:21:43.800 --> 0:21:46.119
<v Speaker 2>in the nook of the broken corner of the top step.

0:21:47.080 --> 0:21:49.520
<v Speaker 2>He lights one just as the screen door creaks open

0:21:49.600 --> 0:21:51.679
<v Speaker 2>and shut, and his brother sucks his teeth at him

0:21:51.680 --> 0:21:55.960
<v Speaker 2>and says a asshole. Gino hands him the one he's

0:21:56.040 --> 0:21:59.399
<v Speaker 2>lit and takes another for himself. They settle into their

0:21:59.440 --> 0:22:02.520
<v Speaker 2>old arranged Gino facing the street on the middle step,

0:22:02.960 --> 0:22:05.920
<v Speaker 2>Stevie behind him, leaning back against the railing between the

0:22:05.960 --> 0:22:08.080
<v Speaker 2>two of them, A view of the narrow street and

0:22:08.160 --> 0:22:11.800
<v Speaker 2>the intersection nearby, and all of the folks who would

0:22:11.800 --> 0:22:15.800
<v Speaker 2>wander over to shoot the shit. Nobody wandering today, Just

0:22:15.880 --> 0:22:18.760
<v Speaker 2>the distant figures of other stoop loiterers at another house.

0:22:19.640 --> 0:22:24.720
<v Speaker 2>A familiar view, but uncanny. It's so quiet around here,

0:22:24.720 --> 0:22:30.359
<v Speaker 2>Gino says, it's weird. It's been this quiet for hell years.

0:22:30.960 --> 0:22:35.280
<v Speaker 2>You just weren't around to notice. Gino grimaces, shakes his head.

0:22:35.440 --> 0:22:38.480
<v Speaker 2>I'm not going to keep apologizing for living my own life.

0:22:38.680 --> 0:22:43.200
<v Speaker 2>Didn't ask you to. I'm just saying right, sorry, shouldn't

0:22:43.200 --> 0:22:46.439
<v Speaker 2>put words in your mouth. Stevie never won to let

0:22:46.520 --> 0:22:50.080
<v Speaker 2>discomfort sit for long. Ask Gina how work is and

0:22:50.119 --> 0:22:55.040
<v Speaker 2>you've still seeing that girl, Tina Trisha Tanya says Gino.

0:22:55.760 --> 0:22:59.080
<v Speaker 2>We call it quits. It's the job. I'm somewhere for

0:22:59.160 --> 0:23:01.760
<v Speaker 2>six eight months, than a couple weeks of nothing, being

0:23:01.760 --> 0:23:04.080
<v Speaker 2>a bum on her couch, then some other place, do

0:23:04.160 --> 0:23:08.000
<v Speaker 2>it all over again. I like the work, get a project,

0:23:08.119 --> 0:23:10.639
<v Speaker 2>see it through, tie it up. I like that, But

0:23:10.720 --> 0:23:13.920
<v Speaker 2>I think she got sick of the whole thing. Dolan says, man,

0:23:14.880 --> 0:23:18.480
<v Speaker 2>I'm good, so who's couch you bumming on between projects? Now?

0:23:18.520 --> 0:23:23.359
<v Speaker 2>Stevie asks, you know, shrugs, just still around. Really, HQ

0:23:23.480 --> 0:23:27.760
<v Speaker 2>has some ten housing, so I'm there mostly, bro Hold up?

0:23:28.200 --> 0:23:32.360
<v Speaker 2>Are you homeless right now? Gino shoves back against Stevie's knee.

0:23:32.480 --> 0:23:34.520
<v Speaker 2>Fuck off, man, I just I don't need a place

0:23:34.520 --> 0:23:37.920
<v Speaker 2>as all? All right, all right. I was going to

0:23:37.960 --> 0:23:40.600
<v Speaker 2>say he could crash here, but being honest, I think

0:23:40.640 --> 0:23:43.199
<v Speaker 2>I'd have a heart attack if you said yes, and

0:23:43.280 --> 0:23:47.880
<v Speaker 2>Kevin would fucking kill you or me. Stevie grunts an agreement.

0:23:48.640 --> 0:23:53.040
<v Speaker 2>You wouldn't stand a chance. He's a bitter too. Gino sputters,

0:23:53.520 --> 0:23:56.399
<v Speaker 2>Come on, man, I don't even know that shit. He hesitates,

0:23:56.440 --> 0:23:59.560
<v Speaker 2>then says, you guys don't have to stay here either,

0:23:59.640 --> 0:24:04.840
<v Speaker 2>you know, Gino just saying I know what it's like

0:24:04.880 --> 0:24:07.560
<v Speaker 2>to feel trapped here, but you're not. You don't have

0:24:07.600 --> 0:24:09.479
<v Speaker 2>to stick around and watch it all sink. You know

0:24:09.800 --> 0:24:13.320
<v Speaker 2>I can help. We can pack up Ma, and Stevie

0:24:13.320 --> 0:24:16.360
<v Speaker 2>cuts him off. I'm the fuck on, man. You think

0:24:16.400 --> 0:24:18.600
<v Speaker 2>Ma's leaving this house? You want to pry her out

0:24:18.640 --> 0:24:20.920
<v Speaker 2>of here with a crowbar? You're gonna break her heart

0:24:20.920 --> 0:24:23.040
<v Speaker 2>with that, And who's gonna take care of her, then

0:24:23.119 --> 0:24:27.400
<v Speaker 2>you I could help you get set up somewhere. Get

0:24:27.400 --> 0:24:30.120
<v Speaker 2>the fuck out of here with that. Come on, I'm

0:24:30.160 --> 0:24:33.719
<v Speaker 2>just saying, I know what you're saying, but be real, Okay,

0:24:34.080 --> 0:24:36.600
<v Speaker 2>Ma's not going anywhere, and if Kevin and I leave,

0:24:36.840 --> 0:24:39.040
<v Speaker 2>there's no one to be with Ma. You're not dropping

0:24:39.040 --> 0:24:42.680
<v Speaker 2>everything and coming back. So yeah, you're not trapped because

0:24:42.720 --> 0:24:45.520
<v Speaker 2>I am. And that's not on you. I'm glad you're

0:24:45.560 --> 0:24:48.119
<v Speaker 2>out there doing your thing. You're my little brother, you know.

0:24:48.200 --> 0:24:52.439
<v Speaker 2>And you're a smart kid, Stevie. I'm thirty six. See,

0:24:52.640 --> 0:24:55.600
<v Speaker 2>you can count real high and everything. Stevie laughs at

0:24:55.600 --> 0:24:58.600
<v Speaker 2>his own joke. That loud on self conscious snorting that

0:24:58.600 --> 0:25:02.600
<v Speaker 2>always makes Gino smile. Jesus listen to us like we're

0:25:02.640 --> 0:25:06.440
<v Speaker 2>in therapy or some shit. I am, actually, Gino offers,

0:25:07.160 --> 0:25:11.800
<v Speaker 2>for real. Yeah, Stevie nudges Gino's back with his foot.

0:25:12.000 --> 0:25:15.639
<v Speaker 2>So he goes on work, has these folks on staff,

0:25:15.680 --> 0:25:17.520
<v Speaker 2>and it's free, so I figured it might as well,

0:25:17.680 --> 0:25:20.359
<v Speaker 2>you know what I mean. Huh, nice of them. I

0:25:20.359 --> 0:25:23.960
<v Speaker 2>guess what do you us talk about? Geno Crane's neck

0:25:24.000 --> 0:25:26.199
<v Speaker 2>around to glare at him. What I've never been to

0:25:26.240 --> 0:25:31.040
<v Speaker 2>therapy before I'm curious. Come on, it's personal, all right, fine,

0:25:31.080 --> 0:25:35.120
<v Speaker 2>don't tell me anything. It's like, aa, you know, it's confidential.

0:25:35.920 --> 0:25:39.479
<v Speaker 2>How much confidential shit could you even have? Oh? Come on,

0:25:39.520 --> 0:25:44.560
<v Speaker 2>screw you, Stevie, He laughs again, kidding, I'm kidding. Gino

0:25:44.640 --> 0:25:47.040
<v Speaker 2>finishes his cigarette and rummages in the pack for another,

0:25:47.440 --> 0:25:51.360
<v Speaker 2>offers Stevie one, then lights them both. Overhead, the sun

0:25:51.440 --> 0:25:54.200
<v Speaker 2>is behind gray clouds, and some sort of hawk or

0:25:54.280 --> 0:25:58.640
<v Speaker 2>kite is making high, irregular circles. He's cool the therapist

0:25:58.720 --> 0:26:01.320
<v Speaker 2>they got. Gino says he thought coming here for this

0:26:01.480 --> 0:26:04.120
<v Speaker 2>was a good idea. He's kind of a hard ass, though,

0:26:04.200 --> 0:26:08.200
<v Speaker 2>you know, calls me on my bullshit. That's a big job.

0:26:08.440 --> 0:26:14.159
<v Speaker 2>You're full of bullshit. Hilarious, I know, right. Stevie taps

0:26:14.160 --> 0:26:16.320
<v Speaker 2>a little song on the top step of his fingertips.

0:26:16.800 --> 0:26:19.400
<v Speaker 2>Inside the house, Roxy and Kevin are talking fast, back

0:26:19.400 --> 0:26:23.359
<v Speaker 2>and forth, loud and happy enough. So go on, Stevie says,

0:26:24.080 --> 0:26:28.520
<v Speaker 2>what kind of bullshit? Gino sighs. He gestures with his

0:26:28.640 --> 0:26:32.159
<v Speaker 2>chin back at the front door. This kind mostly for

0:26:32.280 --> 0:26:34.359
<v Speaker 2>a session we had. He gave it fifteen minutes before

0:26:34.400 --> 0:26:37.160
<v Speaker 2>asking why I kept getting angry at myself for having feelings.

0:26:37.960 --> 0:26:41.359
<v Speaker 2>Oh fuck yeah, I almost walked out, and he was like,

0:26:41.440 --> 0:26:44.520
<v Speaker 2>see right there, there it is again. He shakes his

0:26:44.600 --> 0:26:49.520
<v Speaker 2>head smiles. Bastard, you still do that, though, Stevie says,

0:26:49.560 --> 0:26:52.080
<v Speaker 2>with all the self assurance of someone who changed his stipers,

0:26:53.119 --> 0:26:56.200
<v Speaker 2>I do. But I notice it now, which he says

0:26:56.240 --> 0:26:59.680
<v Speaker 2>is good. Stevie blows smoke out of the corner of

0:26:59.720 --> 0:27:01.520
<v Speaker 2>his mouth and they watch the hawk drop out of

0:27:01.560 --> 0:27:04.600
<v Speaker 2>sight somewhere over the marsh. Is it good?

0:27:05.680 --> 0:27:05.840
<v Speaker 1>Nah?

0:27:05.920 --> 0:27:10.120
<v Speaker 2>It sucks now I get angry about being angry. Stevie

0:27:10.160 --> 0:27:12.640
<v Speaker 2>laughed so hard that both his daughters and his husband

0:27:12.640 --> 0:27:14.800
<v Speaker 2>bang out through the front door to see what they're missing,

0:27:15.240 --> 0:27:17.800
<v Speaker 2>the three of them fitting themselves into Geno and Stevie's

0:27:17.800 --> 0:27:20.640
<v Speaker 2>stoop arrangement and a new configuration that makes him feel

0:27:20.680 --> 0:27:24.639
<v Speaker 2>crowded but at least not crowded out. The kids surround

0:27:24.680 --> 0:27:28.160
<v Speaker 2>him on the steps, long teenage limbs getting everywhere. Kevin

0:27:28.200 --> 0:27:30.080
<v Speaker 2>even offers him a bite of a slice of pie

0:27:30.119 --> 0:27:32.720
<v Speaker 2>he carried out with him and barely makes a face

0:27:32.760 --> 0:27:51.560
<v Speaker 2>when Gino uses this fork. Gino walks with his mom

0:27:51.600 --> 0:27:53.840
<v Speaker 2>to his dad's grave about a five minute trip up

0:27:53.880 --> 0:27:57.040
<v Speaker 2>the street. It was Kevin who pointedly heard at his family,

0:27:57.080 --> 0:27:59.240
<v Speaker 2>and everyone else left at the house to clean things

0:27:59.280 --> 0:28:02.280
<v Speaker 2>up and follow a long afterwards. So Gino and his

0:28:02.320 --> 0:28:04.399
<v Speaker 2>mom are alone together for the time being, in the

0:28:04.440 --> 0:28:08.840
<v Speaker 2>dim late afternoon, walking through sticky air and the droning

0:28:08.880 --> 0:28:13.000
<v Speaker 2>noise of a neighbor's household generator. It's slow going, not

0:28:13.080 --> 0:28:16.239
<v Speaker 2>because of any infirmary on Francesca's part, but because she

0:28:16.280 --> 0:28:20.240
<v Speaker 2>walks slowly and always has an infuriating trait in a

0:28:20.240 --> 0:28:23.240
<v Speaker 2>city person. Finally at home, now that this part of

0:28:23.240 --> 0:28:28.000
<v Speaker 2>the city has been cut off, made circumstantially provincial. Gino

0:28:28.080 --> 0:28:30.920
<v Speaker 2>doesn't mind meandering, but he's not used to the sound

0:28:31.000 --> 0:28:36.040
<v Speaker 2>of his mother not talking. Stevie's girls look all grown up,

0:28:36.119 --> 0:28:39.240
<v Speaker 2>he says. She nods. She puts her hand on his

0:28:39.360 --> 0:28:41.520
<v Speaker 2>arm and folds it so that her hand is tucked

0:28:41.520 --> 0:28:44.160
<v Speaker 2>into the crook of his elbow, and they walk like that,

0:28:44.640 --> 0:28:48.520
<v Speaker 2>a dignified little procession. He's a good father. She says,

0:28:49.200 --> 0:28:52.680
<v Speaker 2>you're still not seeing anyone, Nah, would you tell me

0:28:52.720 --> 0:28:58.160
<v Speaker 2>if you were, Gino put docs his head. Probably they

0:28:58.160 --> 0:29:01.400
<v Speaker 2>come to the graveyard. Steevev had written to Geno about

0:29:01.400 --> 0:29:04.240
<v Speaker 2>the place and sent some pictures, but it's more odd

0:29:04.320 --> 0:29:07.120
<v Speaker 2>more abrupt to see it in person. What used to

0:29:07.120 --> 0:29:09.320
<v Speaker 2>be a messy six way intersection in the middle of

0:29:09.360 --> 0:29:11.880
<v Speaker 2>the neighborhood had become just so much useless space. When

0:29:11.880 --> 0:29:15.480
<v Speaker 2>the seasonal flooding stopped being seasonal and residents were cut

0:29:15.480 --> 0:29:18.720
<v Speaker 2>off from the closest gas station, now half an hour away,

0:29:18.720 --> 0:29:22.680
<v Speaker 2>over the water, folks brought out the sledgehammers and tore

0:29:22.760 --> 0:29:25.640
<v Speaker 2>it down to the dirt. The original plan had been

0:29:25.680 --> 0:29:28.440
<v Speaker 2>to till the soil and put in vegetable crops before

0:29:28.480 --> 0:29:32.000
<v Speaker 2>they started planting. Someone on twenty third Street died, and

0:29:32.120 --> 0:29:34.920
<v Speaker 2>all at once the residents of the Newborn Island realized

0:29:34.920 --> 0:29:36.640
<v Speaker 2>that they didn't know what to do if they're dead.

0:29:38.000 --> 0:29:41.400
<v Speaker 2>Cemeteries in South Philly had been exhumed and relocated long ago,

0:29:41.960 --> 0:29:45.000
<v Speaker 2>well before most of the living started to leave. If

0:29:45.000 --> 0:29:48.000
<v Speaker 2>the bereaved were so inclined and could afford it, they'd

0:29:48.000 --> 0:29:50.120
<v Speaker 2>ship their dead up to a plot in the northwest

0:29:50.120 --> 0:29:53.480
<v Speaker 2>of the city, or even to the suburbs. Churches and

0:29:53.520 --> 0:29:56.880
<v Speaker 2>mosques and synagogues pitched in, but most people, if their

0:29:56.880 --> 0:30:01.080
<v Speaker 2>faith allowed, opted for cremation. The shore had been in

0:30:01.160 --> 0:30:03.800
<v Speaker 2>flux their whole lives, and there was no assurance their

0:30:03.880 --> 0:30:06.000
<v Speaker 2>kids wouldn't have to dig up Grampa and ship his

0:30:06.080 --> 0:30:09.640
<v Speaker 2>bones even further inland a couple decades down the line.

0:30:10.440 --> 0:30:14.480
<v Speaker 2>Unfortunately for the remains of west passiunc However, when the

0:30:14.520 --> 0:30:17.840
<v Speaker 2>water rose around them, no crematoriums remained on dry land,

0:30:18.560 --> 0:30:20.440
<v Speaker 2>so they had the body of a young woman whose

0:30:20.480 --> 0:30:22.720
<v Speaker 2>heart gave out and a fresh field of open dirt.

0:30:23.440 --> 0:30:26.720
<v Speaker 2>They planted her in it, and then the next death,

0:30:27.320 --> 0:30:30.200
<v Speaker 2>and the next one. By the time Gino's dad was

0:30:30.200 --> 0:30:35.520
<v Speaker 2>buried here yet plenty of company. The graveyard has the

0:30:35.520 --> 0:30:38.680
<v Speaker 2>long triangular shape of the old intersection, enclosed by a

0:30:38.760 --> 0:30:41.920
<v Speaker 2>chain link fence to keep out dogs and raccoons. The

0:30:42.000 --> 0:30:45.320
<v Speaker 2>grass is clipped short, the regular sort of lawn grass,

0:30:45.360 --> 0:30:47.840
<v Speaker 2>instead of the mess of marsh grasses that have crept

0:30:47.880 --> 0:30:51.320
<v Speaker 2>in everywhere else. White forget me nots are dotted in

0:30:51.360 --> 0:30:53.920
<v Speaker 2>among the plots, and one corner of the yard is

0:30:53.960 --> 0:30:57.000
<v Speaker 2>taken up by a huge mess of purple aster. The

0:30:57.080 --> 0:31:00.240
<v Speaker 2>markers are pale wood names and dates burned into them

0:31:00.440 --> 0:31:04.000
<v Speaker 2>in a dark, neat script. Gino's mom leads him to

0:31:04.040 --> 0:31:08.520
<v Speaker 2>his dad's plot, which is catching some late light. Gino

0:31:08.640 --> 0:31:11.480
<v Speaker 2>knows his father is dead. He's known it for a year,

0:31:11.880 --> 0:31:13.960
<v Speaker 2>but seeing a grave with his father's name on it

0:31:14.000 --> 0:31:18.200
<v Speaker 2>feels like coming down off a high wire. Sickening and sudden.

0:31:19.240 --> 0:31:21.520
<v Speaker 2>He sits down in the grass, and after wiping some

0:31:21.640 --> 0:31:24.240
<v Speaker 2>dust and grit off the marker, his mom sits down

0:31:24.280 --> 0:31:28.080
<v Speaker 2>next to him. You should come visit him in the morning, too,

0:31:28.200 --> 0:31:31.960
<v Speaker 2>she says. A lot of bees then, and bluebirds. I

0:31:32.000 --> 0:31:34.720
<v Speaker 2>almost move that feeter over here, that one he put

0:31:34.720 --> 0:31:37.120
<v Speaker 2>out by the back door, But then they wouldn't come

0:31:37.160 --> 0:31:39.960
<v Speaker 2>to the house so much. They come here already anyhow.

0:31:42.000 --> 0:31:44.960
<v Speaker 2>Gino doesn't trust himself to speak yet. He hadn't known

0:31:44.960 --> 0:31:47.520
<v Speaker 2>it would feel like this. He had hoped to avoid

0:31:47.560 --> 0:31:51.080
<v Speaker 2>feeling like this indefinitely, the finality of it, and the

0:31:51.080 --> 0:31:54.040
<v Speaker 2>premonition that she would be gone soon enough too, and

0:31:54.120 --> 0:31:57.080
<v Speaker 2>even Stevie one day, and that this gentle garden of

0:31:57.120 --> 0:31:59.680
<v Speaker 2>the dead would flood with salt water and he wouldn't

0:31:59.720 --> 0:32:02.120
<v Speaker 2>get another chance to be brave enough to stick around.

0:32:03.200 --> 0:32:05.880
<v Speaker 2>He thought he'd buried them for himself already by leaving,

0:32:06.280 --> 0:32:10.280
<v Speaker 2>by not watching it happen. But they're still here, and

0:32:10.360 --> 0:32:12.959
<v Speaker 2>all he'd done was lose time that he'll never recover,

0:32:13.520 --> 0:32:16.120
<v Speaker 2>and let Stevie dig their dad's grave, all on his own.

0:32:17.200 --> 0:32:20.760
<v Speaker 2>Gino's squeezing his hands, one in the other, and his

0:32:20.920 --> 0:32:24.320
<v Speaker 2>mom rests hers on top of them. A question. He

0:32:24.360 --> 0:32:29.520
<v Speaker 2>shakes his head convulsively. Is fine, sorry, I'm fine, sorry,

0:32:29.600 --> 0:32:34.080
<v Speaker 2>I'm sorry. All right, she says. She squeezes his hand,

0:32:34.160 --> 0:32:39.640
<v Speaker 2>rubs his back. All right, you go on. He knows

0:32:39.640 --> 0:32:42.719
<v Speaker 2>what Stevie said, but he's got to ask. It's clawing

0:32:42.760 --> 0:32:45.400
<v Speaker 2>at him. You and all of them could come back

0:32:45.400 --> 0:32:48.120
<v Speaker 2>with me, Gino says, I can take some more time

0:32:48.160 --> 0:32:50.320
<v Speaker 2>off and find a place. Doesn't have to be that far.

0:32:50.920 --> 0:32:53.560
<v Speaker 2>There's a whole lot of Pennsylvania. We can get you

0:32:53.600 --> 0:32:55.920
<v Speaker 2>out of here. It's time to get out of here,

0:32:57.960 --> 0:33:00.080
<v Speaker 2>all of us. She looks at him like he just

0:33:00.120 --> 0:33:03.240
<v Speaker 2>spat in her face. Your brother can make his own decisions.

0:33:03.680 --> 0:33:06.640
<v Speaker 2>And you, baby boy, I'm happy to see your face.

0:33:07.200 --> 0:33:10.240
<v Speaker 2>But you can go any time. She nods at the grave.

0:33:11.040 --> 0:33:13.480
<v Speaker 2>But I'm not about to leave him, don't you ask

0:33:13.560 --> 0:33:17.360
<v Speaker 2>me to. I'm sorry, ma for leaving, for coming back

0:33:17.400 --> 0:33:19.200
<v Speaker 2>for the moment a few days from now, when he'll

0:33:19.280 --> 0:33:23.200
<v Speaker 2>leave again. That's all right, it's all right to have

0:33:23.280 --> 0:33:26.640
<v Speaker 2>things you're sorry for. Your dad lived a good, long life,

0:33:27.000 --> 0:33:29.280
<v Speaker 2>and he left, still sorry for all sorts of things.

0:33:30.080 --> 0:33:34.760
<v Speaker 2>You go on, be sorry, that's okay. A trio of

0:33:34.840 --> 0:33:37.320
<v Speaker 2>swallows have landed on the fence and are calling their

0:33:37.360 --> 0:33:42.000
<v Speaker 2>clear tittering trills into the dusk. Insects are flitting around,

0:33:42.040 --> 0:33:44.719
<v Speaker 2>and the birds take turn launching themselves from the fence,

0:33:45.280 --> 0:33:48.760
<v Speaker 2>diving in wild arcs, then coming back to rest, the

0:33:48.800 --> 0:33:52.680
<v Speaker 2>other two waiting chirrup, laughing, the insects droning on, oblivious

0:33:52.720 --> 0:33:55.720
<v Speaker 2>to the game that's been made of their fate. I

0:33:55.760 --> 0:33:58.680
<v Speaker 2>couldn't watch, Gino says, leaning into his mom's hand on

0:33:58.720 --> 0:34:03.520
<v Speaker 2>his back. I couldn't watch it happen dad, the neighborhood.

0:34:04.520 --> 0:34:09.040
<v Speaker 2>Her hands stills, Then she passed him briskly and stands. Stevie,

0:34:09.200 --> 0:34:11.279
<v Speaker 2>Kevin and the girls are coming through the gate into

0:34:11.320 --> 0:34:15.759
<v Speaker 2>the yard, chattering like birds. Well, anytime you want to

0:34:15.760 --> 0:34:19.160
<v Speaker 2>see us, we'll be here, his mom says, whether you're

0:34:19.200 --> 0:34:23.160
<v Speaker 2>watching or not, that's the story.

0:34:24.560 --> 0:34:27.040
<v Speaker 4>Right before he died, Mike Davis gave this interview where

0:34:27.080 --> 0:34:30.799
<v Speaker 4>he was talking about one of the sort of like

0:34:31.120 --> 0:34:34.319
<v Speaker 4>giant struggles that people do in America, and the thing

0:34:34.400 --> 0:34:36.439
<v Speaker 4>he was talking about was the story of people sort

0:34:36.440 --> 0:34:41.439
<v Speaker 4>of fighting tenaciously to stay in their home, and something

0:34:41.440 --> 0:34:43.719
<v Speaker 4>I've been thinking about a lot more. I mean not

0:34:43.800 --> 0:34:47.239
<v Speaker 4>just from you know, it's people losing this fight, and

0:34:47.280 --> 0:34:49.560
<v Speaker 4>this has been you know, this is in essence, this

0:34:49.640 --> 0:34:51.680
<v Speaker 4>is the story of America, right, is the story of

0:34:51.719 --> 0:34:54.720
<v Speaker 4>people fighting to stay in the place they love him losing.

0:34:55.320 --> 0:34:58.080
<v Speaker 3>Yeah, And you know, each successive cycle of people gets

0:34:58.160 --> 0:35:01.160
<v Speaker 3>driven further and further and further and further until you know,

0:35:01.280 --> 0:35:03.239
<v Speaker 3>the places they love are gone and there's nothing of them,

0:35:03.440 --> 0:35:06.479
<v Speaker 3>well little of them left, And you know, I think,

0:35:08.760 --> 0:35:10.680
<v Speaker 3>I don't know, it's something I think I like about

0:35:10.680 --> 0:35:14.319
<v Speaker 3>this story a lot is like there's you get that,

0:35:14.840 --> 0:35:17.440
<v Speaker 3>and you also get this sense that sort of you know,

0:35:17.680 --> 0:35:20.280
<v Speaker 3>is the apocalypse is you know, it's slow, it happens

0:35:20.280 --> 0:35:24.880
<v Speaker 3>through yeah. Yeah, but also that you know, like this

0:35:25.000 --> 0:35:29.560
<v Speaker 3>isn't the first time this has happened. Yeah, and it's

0:35:29.680 --> 0:35:33.480
<v Speaker 3>you know and like yeah, like the sort of horror

0:35:33.600 --> 0:35:36.839
<v Speaker 3>of it, right is like it will it will keep

0:35:36.840 --> 0:35:38.200
<v Speaker 3>happening and people will live.

0:35:38.040 --> 0:35:40.120
<v Speaker 4>On and it will sort of just keep rolling.

0:35:40.760 --> 0:35:45.799
<v Speaker 2>Yeah. No, I I read this story and I kind

0:35:45.800 --> 0:35:48.879
<v Speaker 2>of like there's a bunch of other stories that I'm

0:35:48.880 --> 0:35:50.880
<v Speaker 2>also really excited about to shine with everyone, but I

0:35:50.880 --> 0:35:55.720
<v Speaker 2>like really wanted this one to be first, because I

0:35:55.719 --> 0:35:59.000
<v Speaker 2>I really wanted to talk about the way that the

0:35:59.040 --> 0:36:06.160
<v Speaker 2>apocalypse is not just slow but like a reflection of

0:36:06.200 --> 0:36:09.360
<v Speaker 2>the way that everything changes and everything ends, and like,

0:36:10.000 --> 0:36:14.200
<v Speaker 2>you know, and I'm really like interested in the idea of,

0:36:14.239 --> 0:36:18.000
<v Speaker 2>you know, the son who moves away, who like the

0:36:18.040 --> 0:36:19.960
<v Speaker 2>family accepts it, but it's kind of going to give

0:36:20.000 --> 0:36:24.239
<v Speaker 2>him shit forever for it. And like, yeah, I don't know.

0:36:24.280 --> 0:36:28.360
<v Speaker 2>I think it's just a really human thing and I

0:36:28.400 --> 0:36:31.200
<v Speaker 2>think it helps like because also, like, Okay, this hasn't

0:36:31.239 --> 0:36:34.200
<v Speaker 2>happened to Philly yet, right, This has happened already many

0:36:34.200 --> 0:36:38.239
<v Speaker 2>places in the world, and will happen many places more

0:36:38.280 --> 0:36:40.960
<v Speaker 2>places in the world. Like that is an inevitability at

0:36:40.960 --> 0:36:44.760
<v Speaker 2>this point, right, and just like we need to start

0:36:45.160 --> 0:36:48.839
<v Speaker 2>grappling with that, you know. Okay, So I'm gonna I'm

0:36:48.840 --> 0:36:52.959
<v Speaker 2>gonna read his bio the author's bio. Nicassio andras Read

0:36:53.320 --> 0:36:55.600
<v Speaker 2>is a writer, poet, and essayist whose work has appeared

0:36:55.600 --> 0:36:58.840
<v Speaker 2>in venues such as Strange Horizons, Light Speed on Canny Magazine,

0:36:58.840 --> 0:37:02.279
<v Speaker 2>and Shimmer. A Philadelphia resident until age nine, he now

0:37:02.320 --> 0:37:04.640
<v Speaker 2>lives in Tagateay in the Philippines with four dogs, some

0:37:04.719 --> 0:37:09.440
<v Speaker 2>family and the occasional uninvited monitor lizard. He's the poetry

0:37:09.520 --> 0:37:11.600
<v Speaker 2>editor at the dead Lands and is working on a

0:37:11.640 --> 0:37:15.000
<v Speaker 2>novel about the history of Filipino migrant laborers in Alaska.

0:37:16.000 --> 0:37:16.440
<v Speaker 4>And then.

0:37:18.120 --> 0:37:22.000
<v Speaker 2>I asked, I basically asked him, since he's not on

0:37:22.080 --> 0:37:25.239
<v Speaker 2>here to plug things people already know. Miya Wong, you're

0:37:25.320 --> 0:37:28.239
<v Speaker 2>the host of the podcast whose feeds are probably in

0:37:29.239 --> 0:37:32.640
<v Speaker 2>statistically and if not go listening could happen here. But

0:37:32.800 --> 0:37:36.480
<v Speaker 2>I asked, I asked Nico, and he said and for

0:37:36.520 --> 0:37:38.960
<v Speaker 2>an additional plug, I don't have any recent pubs, and

0:37:39.000 --> 0:37:41.320
<v Speaker 2>I feel slightly bad about Wetlands being the de facto

0:37:41.360 --> 0:37:43.000
<v Speaker 2>bad guy in the story, So I'd love to shout

0:37:43.040 --> 0:37:46.200
<v Speaker 2>out the Society for the Conservation of Philippine Wetlands, which

0:37:46.239 --> 0:37:50.800
<v Speaker 2>is at Wetlands p. The Philippines is one of the

0:37:50.800 --> 0:37:53.160
<v Speaker 2>most dangerous places in the world for environmental activists and

0:37:53.239 --> 0:37:56.240
<v Speaker 2>land defenders, who are often red tagged, that is, publicly

0:37:56.320 --> 0:37:59.960
<v Speaker 2>labeled as members or supporters of the armed communist insurgency.

0:38:00.600 --> 0:38:02.960
<v Speaker 2>For many years now, it's been open season on red

0:38:03.040 --> 0:38:06.960
<v Speaker 2>tagged individuals, State forces and private corporate armed groups alike

0:38:07.239 --> 0:38:09.880
<v Speaker 2>kill them with impunity, almost always in the name of

0:38:09.960 --> 0:38:12.880
<v Speaker 2>land grabbing. At the same time, we are one of

0:38:12.920 --> 0:38:16.040
<v Speaker 2>the countries facing early and extreme effects of climate change

0:38:16.960 --> 0:38:19.279
<v Speaker 2>and the damage that these land grabbing entities due to

0:38:19.280 --> 0:38:23.800
<v Speaker 2>our natural resources is making things worse fast. A healthy, diverse,

0:38:23.840 --> 0:38:26.279
<v Speaker 2>resilient wetland barrier to typhoons is one of the most

0:38:26.320 --> 0:38:30.240
<v Speaker 2>vital things for us, for us to rebuild and protect.

0:38:31.000 --> 0:38:35.560
<v Speaker 2>So that is the plug for this episode and we

0:38:35.600 --> 0:38:38.600
<v Speaker 2>will catch you next week on the cool Zone Media

0:38:38.640 --> 0:38:39.200
<v Speaker 2>book Club.

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<v Speaker 1>It Could Happen Here as a production of cool Zone Media.

0:38:44.000 --> 0:38:46.640
<v Speaker 1>For more podcasts from cool Zone Media, visit our website

0:38:46.680 --> 0:38:49.799
<v Speaker 1>coolzonemedia dot com or check us out on the iHeartRadio app,

0:38:49.800 --> 0:38:53.000
<v Speaker 1>Apple Podcasts, or wherever you listen to podcasts. You can

0:38:53.040 --> 0:38:55.759
<v Speaker 1>find sources for It Could Happen Here, updated monthly at

0:38:55.760 --> 0:38:59.000
<v Speaker 1>coolzonemedia dot com slash sources. Thanks for listening.

0:39:00.600 --> 0:39:00.960
<v Speaker 3>Copy