WEBVTT - CZM Book Club: St. Juju, by Rivers Solomon

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<v Speaker 1>Cool Zone Media book Club book Club book Club. Hello,

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<v Speaker 1>Welcome to cools On Media book Club, the only book club, period,

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<v Speaker 1>the only book club. And this week I have a

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<v Speaker 1>story seeped in the earthy sweet scent of mushrooms and garbage.

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<v Speaker 1>Everyone likes mushrooms and garbage, right, this is a story

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<v Speaker 1>but mushrooms and garbage, because today we are reading Saint

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<v Speaker 1>Juju by the Powerhouse Rivers. Solomon Rivers is most known

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<v Speaker 1>for their haunting and beautiful fantasy horror novels, but today

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<v Speaker 1>we have a far future, utopian short story for you,

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<v Speaker 1>packed full of queer yearning dog girls and a heaping

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<v Speaker 1>portion of fungus and characters coming to terms with the

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<v Speaker 1>reality that violence and impression room much more difficult to

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<v Speaker 1>eradicate than it seems. But also and it's much more

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<v Speaker 1>hopeful than that makes it sound. This story, Saint Juju,

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<v Speaker 1>was originally published in twenty nineteen by The Verge as

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<v Speaker 1>part of their series Better Worlds, which was a science

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<v Speaker 1>fiction series about hope, and it was released with some

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<v Speaker 1>abs of frutally stunning animation of the characters by Alan

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<v Speaker 1>Leaster that I highly recommend checking out. All right, are

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<v Speaker 1>you ready? You'd better be ready. If you're not ready,

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<v Speaker 1>then you're gonna have to pause and do something else

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<v Speaker 1>and come back when you're ready. Are you ready for

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<v Speaker 1>Saint Juju? By River Solomon? The trash garden is stunning

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<v Speaker 1>in the pre dawn morn lit up beneath a bulbous

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<v Speaker 1>ivory moon. Two hundred acres of fungus hills stand between

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<v Speaker 1>us and the edge of the enclave, and the smoky

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<v Speaker 1>fragrance of pink toadstools waits the air with sweet earthiness.

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<v Speaker 1>Enid sniffs, knows, twitching buried inside of mushrooming quiskea comidente.

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<v Speaker 1>There are still several decades worth of trash, and though

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<v Speaker 1>I can't smell it, Enid can. Six foot deep fungus

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<v Speaker 1>covers the rotting bottles, cans, cartons, clothes, wrappers, and broken toys.

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<v Speaker 1>But Enid's a hound mutant. She can smell it all.

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<v Speaker 1>The fungus has been feasting on the refuse of the

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<v Speaker 1>former landfill for over one hundred years, and the scent

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<v Speaker 1>of the old world trash lingers for those with her

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<v Speaker 1>genetic mutation. Do you mind it much? I asked Enid.

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<v Speaker 1>The odor the fungus from the trash gardens is enough

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<v Speaker 1>to feed most of the world, but they seemed a

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<v Speaker 1>bitter sweet phenomenon for the hound mutants. I mean, I

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<v Speaker 1>know it doesn't stink to you, I say, but does

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<v Speaker 1>it remind you of the past? Enid shakes her head,

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<v Speaker 1>the matted bowl cut coils sweeping back and forth over

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<v Speaker 1>her forehead. There's a scar on her left temple, spanning

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<v Speaker 1>down to her left eye and across her cheek, where

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<v Speaker 1>she got swiped by a mountain lion that she was

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<v Speaker 1>trying to spring from a trap. It's the sort of

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<v Speaker 1>story that sounds like a tall tale, a hay geography,

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<v Speaker 1>a myth, the beginning of a heroine's journey. I've been

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<v Speaker 1>reading about the lives of various saints over the last

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<v Speaker 1>year in preparation for my oration to the Enclave, and

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<v Speaker 1>in another time, I think my Enid could have been

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<v Speaker 1>Saint Enid. To avoid the shackles of marriage to a

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<v Speaker 1>horrible noble, she'd commit herself to God and become a nun.

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<v Speaker 1>The noble would demand her chastity anyway, but she'd run

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<v Speaker 1>into a den of lions to escape his horseback riding soldiers.

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<v Speaker 1>The lions would claw her face to forming her, and

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<v Speaker 1>then finally the noble might give up his claims. She'd

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<v Speaker 1>be the patron saint of women with scars. I bite

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<v Speaker 1>the collar of my flannel as Enid and I walk

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<v Speaker 1>the fungus capped ground. Although the focus of my upcoming

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<v Speaker 1>oration revolves around the less savory aspects of traditional belief systems,

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<v Speaker 1>the parts about people like me and Enid and how

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<v Speaker 1>we are sin incarnate, I can see the beauty in

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<v Speaker 1>it too, why people did and still do devote their

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<v Speaker 1>lives to these religions. Enid's nose twitches again, and she

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<v Speaker 1>bites her bottom lip. We shouldn't have taken this route.

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<v Speaker 1>The other ways out of the enclave were longer, but

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<v Speaker 1>they didn't have the same baggage. You sure you are

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<v Speaker 1>right going this way? I ask? That makes Enid stop sniffing.

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<v Speaker 1>I'm fine, She says, yeah. I say. She nods yeah.

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<v Speaker 1>I know it must be hard on these grounds. I

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<v Speaker 1>tell her it's not. She says, must be a little bit.

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<v Speaker 1>I press unable to be a normal fucking person for

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<v Speaker 1>once in my life and let it go. Growing up,

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<v Speaker 1>my older brother always called me a pestering little shit,

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<v Speaker 1>and he's right. Ever needy I poke and poke and

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<v Speaker 1>poke until I poke so hard it's more of a push.

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<v Speaker 1>Suddenly I'm shoving folks out of my life under the

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<v Speaker 1>pretense of having a nice conversation. Not that Enid will

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<v Speaker 1>give into my prodding. I mostly talk to keep myself company.

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<v Speaker 1>If I'm silent, the void of half light will gobble

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<v Speaker 1>me up. Silence likes to feast on folks like me,

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<v Speaker 1>a heady, hot stew of discontent. I can't settle my

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<v Speaker 1>mind when left to my own devices, left alone to

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<v Speaker 1>think wonder, despair, I get feverish and wild. You can

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<v Speaker 1>talk to me about it if you want feelings and shit.

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<v Speaker 1>I mean, I say, I'm good, says Enid. You sure

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<v Speaker 1>don't ask again, She says. Maybe it should sting, but

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<v Speaker 1>it doesn't. Maybe I like to poke to see where

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<v Speaker 1>the end of things are, and life becomes so much

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<v Speaker 1>easier when I do. And do you know what will

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<v Speaker 1>make your life a lot easier, dear listener, that's right,

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<v Speaker 1>it's the products and the services that support this show.

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<v Speaker 1>And we're back skipping shoes tonight was a good idea.

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<v Speaker 1>My feet sink into the flesh of the Kisa Kia

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<v Speaker 1>Commandente mushrooms The feedback is strange but nice, and it

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<v Speaker 1>gives me something to focus on other than Enid. I

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<v Speaker 1>can't tell if she's lying or not if she means

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<v Speaker 1>it when she says it doesn't hurt her to be

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<v Speaker 1>in this place. But maybe I can't let it go,

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<v Speaker 1>because how could it not. This history of the hound

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<v Speaker 1>mutants isn't kind, even that goddamn name. It feels wrong

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<v Speaker 1>to call Enid after a dog, but it's her preferred

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<v Speaker 1>term for folks born with pivicave pathologia. Enid eats metal,

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<v Speaker 1>She eats paper, she eats plastic, she eats trash. She

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<v Speaker 1>has since she was an infant. She came out the womb,

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<v Speaker 1>craving non food stuff. Her body processes it and turns

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<v Speaker 1>it into usable waste. In the old days, before garbage

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<v Speaker 1>eating fungus, pound mutants were rounded up to clear the landfills.

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<v Speaker 1>They sniffed and sought out trash like mutts and the

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<v Speaker 1>names stuck. Being here has to dredge up memories, even

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<v Speaker 1>if they're not her own, even if it all happened

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<v Speaker 1>in a time before she was born. Sometimes I feel

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<v Speaker 1>like that's what must be wrong with me. I'm always

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<v Speaker 1>seeing ghosts hearing things. I call them my figments, but

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<v Speaker 1>maybe they're things from long ago returning from the dead.

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<v Speaker 1>Creeping in Enid's face is indecipherable in the dark, but

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<v Speaker 1>every few moments her eyes blink for too long, or

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<v Speaker 1>she swallows heavily, causing her lips to move and her

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<v Speaker 1>throat to rise and fall. The trash garden is my

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<v Speaker 1>favorite place in the enclave. I offer whenever Enid's near

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<v Speaker 1>and uneasy. Energy springs up in my chest and I've

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<v Speaker 1>just got to talk and talk to get it out

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<v Speaker 1>of me, or it might build up pressure inside explode.

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<v Speaker 1>I've always been a chatterbox, but it's worse around here.

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<v Speaker 1>You wouldn't believe all the hollows I've dug into, the fungus,

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<v Speaker 1>perfect hiding spots to nappen. I know, she says, And yeah,

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<v Speaker 1>I guess I've told her before I was born out here,

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<v Speaker 1>I say, I know, Juju, says Enid. My papa was

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<v Speaker 1>harvesting mushroom for supper when he felt his waters come loose.

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<v Speaker 1>I continue, why. It's like I'm trying to salvage something

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<v Speaker 1>out of this exchange, make this story worth it. But

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<v Speaker 1>all I'm doing is making Enid feel worse and digging

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<v Speaker 1>my hole deeper. He leant up against one of the

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<v Speaker 1>fungus hills, squatted and rested until I came. My other

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<v Speaker 1>Papa wasn't there. He was just waiting and waiting and

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<v Speaker 1>waiting at home for Pops to come home with the mushrooms,

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<v Speaker 1>because he was ready to cook supper. She nods but

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<v Speaker 1>doesn't speak when she leaves. Is this all she'll remember

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<v Speaker 1>of me? The girl whose mouth was a fucking geyser,

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<v Speaker 1>The girl who fidgets, the girl who talks and talks

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<v Speaker 1>and talks to silence the voices, the images, The girl

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<v Speaker 1>who's turned her birth into a fairy tale. Even though

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<v Speaker 1>Enid knows the truth that my papa died out there

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<v Speaker 1>in the field and I almost did too, Born two

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<v Speaker 1>months early and with no hope of medical intervention. Enid

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<v Speaker 1>grabs my hand and squeezes tight enough to hurt, but

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<v Speaker 1>the pressure reins me in. It reminds me that my

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<v Speaker 1>body exists. I don't know why she bothers with a

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<v Speaker 1>thing as untogether as me. I'll visit you whenever I can,

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<v Speaker 1>she says. I nod my head and smile, and it

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<v Speaker 1>hurts my cheeks. For how disingenuous it is. My offer

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<v Speaker 1>to come with still stands, she says, But she knows

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<v Speaker 1>I'm set on staying. The invitation is away. For her

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<v Speaker 1>to be nice without any threat, she'll have to suffer

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<v Speaker 1>the consequences of my co There's a lot I want

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<v Speaker 1>to show you, says Enid, stuff I think you'll love.

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<v Speaker 1>I've lived my whole life on the enclave, I say,

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<v Speaker 1>I'm not as brave as you. Enid's never spent more

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<v Speaker 1>than a few years off and on in the enclaves,

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<v Speaker 1>preferring to travel in packs with others like her. She's

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<v Speaker 1>going back out there tonight. We'll say our goodbyes, then

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<v Speaker 1>walk to the edge of the enclave, and she'll step

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<v Speaker 1>forth into the unpredictable frontier of life outside the enclave.

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<v Speaker 1>Can't pretend it doesn't muck me up inside thinking about

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<v Speaker 1>her leaving me. But what right have I got to

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<v Speaker 1>be angry? The world out there scares me. Open road,

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<v Speaker 1>open field, open forest, the ruins of cities and suburbs,

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<v Speaker 1>wild animals, the same world of the old Saints. The

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<v Speaker 1>past is still out there, waiting for us to make

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<v Speaker 1>what we will of the future. In the Enclave, we

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<v Speaker 1>feed entirely off the fungus and foraged plants and fruit

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<v Speaker 1>out there. They hunt meat. They're vagabonds, chasing good weather,

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<v Speaker 1>good game, good land, never sitting camp for more than

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<v Speaker 1>four or six weeks at a time. Let's just do this, then,

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<v Speaker 1>says Enid. Together, Enid and I climb up our hill,

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<v Speaker 1>the tallest mushroom in the trash garden. This is where

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<v Speaker 1>we'll be together for the last time. We lay on

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<v Speaker 1>its flattened apex. She asks me again if I'm sure

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<v Speaker 1>I won't go with her, and I tell her the

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<v Speaker 1>same thing I did before. I have a life here,

0:11:31.320 --> 0:11:34.960
<v Speaker 1>I have certainty, I have kindness. After my oration, I

0:11:34.960 --> 0:11:38.440
<v Speaker 1>can complete the coming of age. Rites twenty years old,

0:11:38.440 --> 0:11:41.040
<v Speaker 1>I'll be a full fledged adult, able to take on

0:11:41.120 --> 0:11:45.600
<v Speaker 1>more projects, more responsibility, more ways to undo the quietness

0:11:45.600 --> 0:11:49.400
<v Speaker 1>of my mind that sometimes undoes me. It's not fair

0:11:49.480 --> 0:11:52.720
<v Speaker 1>to ask me to leave Paradise. I know, I know,

0:11:53.120 --> 0:11:56.320
<v Speaker 1>she says, sitting next to me. I have a role here.

0:11:57.120 --> 0:12:02.600
<v Speaker 1>I know, she says. It's important. I know. Juju, she says,

0:12:02.640 --> 0:12:06.360
<v Speaker 1>and places her lips to mine so soft. I should

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<v Speaker 1>go with her, just for that, the way she touches me,

0:12:08.920 --> 0:12:14.320
<v Speaker 1>and I dissolve, legs parting unconsciously. They used to think

0:12:14.360 --> 0:12:17.520
<v Speaker 1>it's sin us doing what we're doing now. Putting our

0:12:17.559 --> 0:12:21.160
<v Speaker 1>mouths and our chests and our stomachs together, we writhe

0:12:21.320 --> 0:12:26.040
<v Speaker 1>shameless as dogs, tenderest, wondrous, small, aching, and needy. We

0:12:26.160 --> 0:12:30.800
<v Speaker 1>are this flesh, this pliable, weak flesh. We revel in it.

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<v Speaker 1>I press my growing up into Enids, and we rub

0:12:33.720 --> 0:12:37.320
<v Speaker 1>and rub. She draws her callous thumb along my left cheek,

0:12:37.840 --> 0:12:42.719
<v Speaker 1>nail grazing the freshly buzzed sideburned skin still raw and inflamed.

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<v Speaker 1>My head is bald, too, black from ink to designs,

0:12:47.000 --> 0:12:51.800
<v Speaker 1>but for where my brown skin peeks through. God, you

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<v Speaker 1>feel so good, says Enid. I wish you'd come with me.

0:12:56.320 --> 0:13:00.280
<v Speaker 1>I don't understand it, but I know she means it. Please. Yes.

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<v Speaker 1>Her voice rasps and splinters, and to hear it makes

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<v Speaker 1>my whole body despair. How is it in the moments

0:13:08.040 --> 0:13:12.280
<v Speaker 1>preceding the final throes of fucking, one's body feels so bereft,

0:13:12.320 --> 0:13:16.559
<v Speaker 1>so gluttonous for contact and heat. Someone watching would think

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<v Speaker 1>I'd never been touched at all, for how desperately I'd

0:13:19.200 --> 0:13:21.839
<v Speaker 1>jerk my body to Enid's until we are both spent

0:13:22.600 --> 0:13:26.000
<v Speaker 1>mad with feeling. The bet of fungus we lay on

0:13:26.120 --> 0:13:28.880
<v Speaker 1>is taller than two houses put together, and there's a

0:13:28.880 --> 0:13:32.960
<v Speaker 1>blanket beneath and above us. I can see venus, I

0:13:33.000 --> 0:13:36.440
<v Speaker 1>can see every star. My breath seven slows yet, but

0:13:36.520 --> 0:13:39.360
<v Speaker 1>I don't want them to. Soon as they do, that's

0:13:39.360 --> 0:13:43.600
<v Speaker 1>when I'll remember Enid is leaving me. But do you

0:13:43.840 --> 0:13:48.480
<v Speaker 1>know what, dear listener, will never leave you. The dedicated

0:13:48.640 --> 0:13:53.920
<v Speaker 1>insteadfast deals on this sweet sweet products and services much

0:13:54.360 --> 0:13:58.880
<v Speaker 1>like now, crap, who's that country singer who I really like? Uh,

0:13:59.000 --> 0:14:02.200
<v Speaker 1>I'll be there in the morning. Oh no, this is

0:14:02.320 --> 0:14:04.680
<v Speaker 1>terribly embarrassing. I listen to this man all the time.

0:14:05.120 --> 0:14:08.839
<v Speaker 1>Towns van ZANDT. Much like towns van ZANDT. They will

0:14:08.880 --> 0:14:20.600
<v Speaker 1>be there in the morning, these products and services. There's ads,

0:14:23.720 --> 0:14:31.800
<v Speaker 1>and we're back, Juju. Enid asks. Her voice is gentler

0:14:31.840 --> 0:14:34.600
<v Speaker 1>that I'm used to hearing it. She scratches her head,

0:14:34.640 --> 0:14:38.200
<v Speaker 1>fingers catching in the mass of short, tight curls. The

0:14:38.240 --> 0:14:40.720
<v Speaker 1>sun's coming up and her face is beautiful in the light.

0:14:41.440 --> 0:14:44.280
<v Speaker 1>She's always got a scowl on, like she's thinking deeply,

0:14:44.760 --> 0:14:49.520
<v Speaker 1>and it makes her thick eyebrows furrow. Juju come back

0:14:49.560 --> 0:14:54.000
<v Speaker 1>to me. She grabs my shoulder and jostles me a little. Sorry.

0:14:54.120 --> 0:14:58.040
<v Speaker 1>I say, don't be sorry. She says, you're thinking about

0:14:58.080 --> 0:15:01.080
<v Speaker 1>all that stuff you've been reading again. I know it's

0:15:01.120 --> 0:15:03.480
<v Speaker 1>how you do things here, but I think it's stupid

0:15:03.640 --> 0:15:07.640
<v Speaker 1>that oration everything. What's your topic again? What'd they call it?

0:15:08.000 --> 0:15:13.600
<v Speaker 1>Call us homosexual? I say, And you're still having nightmares

0:15:13.640 --> 0:15:18.520
<v Speaker 1>about everything you've read? Shrugged my shoulders. Enid doesn't know

0:15:18.560 --> 0:15:20.000
<v Speaker 1>what it's like to live in a place where you

0:15:20.000 --> 0:15:23.560
<v Speaker 1>are responsible to other people. I get the coming of

0:15:23.600 --> 0:15:26.520
<v Speaker 1>age rights, I really do. It's tradition to present a

0:15:26.560 --> 0:15:29.600
<v Speaker 1>moral argument to the enclave so that they can decide

0:15:29.640 --> 0:15:32.600
<v Speaker 1>if you're ready to handle the intense questioning of the tribunal.

0:15:33.320 --> 0:15:36.240
<v Speaker 1>They're the ones to ultimately determine if your moral reasoning

0:15:36.280 --> 0:15:39.360
<v Speaker 1>and sense of compassion is developed enough to undergo the rights.

0:15:40.240 --> 0:15:43.480
<v Speaker 1>Usually the topic isn't something particularly relevant to our lives now,

0:15:43.960 --> 0:15:47.560
<v Speaker 1>but was of note at a moment in history. The

0:15:47.600 --> 0:15:51.600
<v Speaker 1>past year, I've composed of triestis deconstructing several arguments that

0:15:51.680 --> 0:15:56.080
<v Speaker 1>called women like me sinners, degenerates. And Enid's not wrong.

0:15:56.400 --> 0:15:58.400
<v Speaker 1>It is weighed on me, but that doesn't mean it

0:15:58.440 --> 0:16:03.200
<v Speaker 1>isn't worth doing. Sun's pretty much up, says Enid. She

0:16:03.240 --> 0:16:05.760
<v Speaker 1>slips her old leather jacket back on and buttons up

0:16:05.760 --> 0:16:09.040
<v Speaker 1>her jeans, looking even cooler now than she had when

0:16:09.080 --> 0:16:12.360
<v Speaker 1>she first come to Milkwood enclave. A gun on her back,

0:16:12.480 --> 0:16:16.080
<v Speaker 1>a crow on her shoulder, a limping coyote at her side,

0:16:16.960 --> 0:16:20.760
<v Speaker 1>Saint Enid. I start to get ready too, buttoning my

0:16:20.800 --> 0:16:24.320
<v Speaker 1>flannel up, but Enid holds out her hand. You don't

0:16:24.360 --> 0:16:26.040
<v Speaker 1>have to walk me to the edge. I can get

0:16:26.040 --> 0:16:29.560
<v Speaker 1>there on my own. This was our goodbye, wasn't it.

0:16:30.840 --> 0:16:33.240
<v Speaker 1>She's already walking down the mushroom hill before I can

0:16:33.240 --> 0:16:38.600
<v Speaker 1>properly respond. Wait, I say, I slip and slide, chasing

0:16:38.720 --> 0:16:42.920
<v Speaker 1>after her, feet unsteady against the dew wet fungus. I

0:16:42.960 --> 0:16:45.720
<v Speaker 1>want to go with her so bad, more than anything.

0:16:47.000 --> 0:16:49.480
<v Speaker 1>Tell me it's good out there, I call after her.

0:16:50.040 --> 0:16:53.320
<v Speaker 1>I don't even have a bag. She doesn't either, she

0:16:53.360 --> 0:16:57.280
<v Speaker 1>doesn't need one. How can I live like that without certainty?

0:16:57.480 --> 0:17:01.880
<v Speaker 1>Tell me it's as good or better than Milkwood? I demand? It.

0:17:01.880 --> 0:17:03.480
<v Speaker 1>Makes her stop, and I catch up to her at

0:17:03.520 --> 0:17:07.360
<v Speaker 1>the bottom of the hill, about five hundred miles from here.

0:17:07.359 --> 0:17:11.080
<v Speaker 1>There's an enclave called the Sacred Grounds. Sometimes they hire

0:17:11.119 --> 0:17:13.800
<v Speaker 1>out howl mutants to clear out forest and make new

0:17:13.840 --> 0:17:19.479
<v Speaker 1>farms in exchange for food and other items. Bored, that's wrong,

0:17:19.760 --> 0:17:22.760
<v Speaker 1>I say, sounding more scandalized than I mean too. I

0:17:22.800 --> 0:17:26.200
<v Speaker 1>always worry Enid will think I sound too innocent, too unscathed.

0:17:26.720 --> 0:17:29.520
<v Speaker 1>She's right, isn't she. That's why I want to stay here.

0:17:30.240 --> 0:17:32.480
<v Speaker 1>I'm just hearing about all this shit now. Since Enid

0:17:32.480 --> 0:17:35.640
<v Speaker 1>came to Milkwood half a year ago, I've never left

0:17:35.680 --> 0:17:38.680
<v Speaker 1>the six hundred acres that make up my enclave. Had

0:17:38.840 --> 0:17:41.480
<v Speaker 1>Enid never come here, I might think the world perfect

0:17:41.480 --> 0:17:45.200
<v Speaker 1>outside what I read in history books. They're not supposed

0:17:45.200 --> 0:17:47.560
<v Speaker 1>to do that. Did you try and stop them, I

0:17:47.600 --> 0:17:51.200
<v Speaker 1>asked Enid. Hiring hound mutants for eating scrap is degrading,

0:17:51.560 --> 0:17:54.440
<v Speaker 1>but clearing forest land to make farms that could get

0:17:54.480 --> 0:17:58.200
<v Speaker 1>someone in real trouble. The United Federations of Indigenous Nations

0:17:58.240 --> 0:18:01.720
<v Speaker 1>manages land use, and the enclaves who leased the territories

0:18:01.720 --> 0:18:04.720
<v Speaker 1>from them are expected to abide by the stipulations. No

0:18:04.800 --> 0:18:09.720
<v Speaker 1>money changes hands, but it's understood who rules. It wasn't

0:18:09.760 --> 0:18:12.880
<v Speaker 1>a great time for me, says Enid. I was lonely.

0:18:13.400 --> 0:18:15.840
<v Speaker 1>There were about five hundred other hound mutantes. They are

0:18:15.840 --> 0:18:18.200
<v Speaker 1>doing the same work, and it felt good to be

0:18:18.280 --> 0:18:21.600
<v Speaker 1>close to so many of my kind. Anyway, there was

0:18:21.640 --> 0:18:24.480
<v Speaker 1>this girl I was fooling around with. One night, these

0:18:24.480 --> 0:18:28.239
<v Speaker 1>two women from the enclave discovered us, Margaret May and

0:18:28.359 --> 0:18:31.520
<v Speaker 1>Jessa I think it was they threw bleach on our

0:18:31.600 --> 0:18:35.960
<v Speaker 1>naked bodies, on our genitals. I tried not to gasp,

0:18:36.040 --> 0:18:39.359
<v Speaker 1>as Enid speaks. Now. That got me properly vexed, and

0:18:39.400 --> 0:18:42.160
<v Speaker 1>I punched Margaret May, who seemed to be the ringleader,

0:18:42.200 --> 0:18:45.879
<v Speaker 1>and broke her nose. Blood spurted out her nostrils like

0:18:45.920 --> 0:18:50.720
<v Speaker 1>a red fire cracker. I back handed that woman Jessa too. Afterward,

0:18:50.760 --> 0:18:53.160
<v Speaker 1>I hoisted up the girl I was with, I can't

0:18:53.200 --> 0:18:55.840
<v Speaker 1>remember her name, and took her into the creek and

0:18:55.880 --> 0:18:58.320
<v Speaker 1>we washed off until we were clean and no longer

0:18:58.359 --> 0:19:02.320
<v Speaker 1>a flame. I dig my hands into the pockets my

0:19:02.400 --> 0:19:05.080
<v Speaker 1>old Jens. I don't know how I could ever reason

0:19:05.119 --> 0:19:07.359
<v Speaker 1>with people who do the kinds of things those women

0:19:07.440 --> 0:19:10.960
<v Speaker 1>did to my Enid and to her lover. What you

0:19:10.960 --> 0:19:15.320
<v Speaker 1>do next? I ask? I left all us dog girls, left,

0:19:15.359 --> 0:19:18.119
<v Speaker 1>every single one of them, and when we left, there

0:19:18.119 --> 0:19:21.879
<v Speaker 1>were places to go to. Enid says, I can't stop

0:19:21.920 --> 0:19:24.640
<v Speaker 1>shaking my head. I slapped my forehead with the heel

0:19:24.680 --> 0:19:27.959
<v Speaker 1>of my hand over and over. But the enclaves are

0:19:27.960 --> 0:19:31.879
<v Speaker 1>no guarantee of safety, Enid says, doesn't she know? I

0:19:32.000 --> 0:19:35.000
<v Speaker 1>know that. Of course I fucking do. But at least

0:19:35.000 --> 0:19:37.119
<v Speaker 1>here there was a system that tried to address it.

0:19:38.600 --> 0:19:40.919
<v Speaker 1>You don't think they had folks at the sacred ground

0:19:41.040 --> 0:19:44.119
<v Speaker 1>stand up and make fancy arguments. It sounded like the truth,

0:19:44.800 --> 0:19:47.480
<v Speaker 1>Enid goes on. She grabs my wrist, but I tear

0:19:47.520 --> 0:19:50.200
<v Speaker 1>it from her hands. Part of the reason I even

0:19:50.240 --> 0:19:52.880
<v Speaker 1>told you that story is because it stood out. It's

0:19:52.920 --> 0:19:56.919
<v Speaker 1>not common. She insists. Most places I've been to are

0:19:57.000 --> 0:20:01.120
<v Speaker 1>better than that. There's some places better than here. Perfection

0:20:01.280 --> 0:20:05.720
<v Speaker 1>isn't a reasonable demand of living things. Once upon a time,

0:20:05.760 --> 0:20:09.359
<v Speaker 1>I could imagine evil as something theoretical. I didn't like

0:20:09.400 --> 0:20:11.720
<v Speaker 1>to think of it as real and breathing and near.

0:20:12.359 --> 0:20:15.480
<v Speaker 1>They shouldn't have assigned you this topic, says Enid. Your

0:20:15.480 --> 0:20:19.359
<v Speaker 1>life isn't some goddamn thesis. I understand the impulse to

0:20:19.400 --> 0:20:23.280
<v Speaker 1>award adulthood based on an intellectualized notion of moral rigor,

0:20:23.760 --> 0:20:26.040
<v Speaker 1>but it is flawed to believe it is a proper

0:20:26.040 --> 0:20:33.159
<v Speaker 1>shield against wrongdoing, wrong thinking, And what is nothing? Nothing is?

0:20:33.760 --> 0:20:37.000
<v Speaker 1>I shake all over admitting it to myself. The ghosts

0:20:37.040 --> 0:20:39.560
<v Speaker 1>of other times shouldn't haunt me like they do. But

0:20:39.640 --> 0:20:42.480
<v Speaker 1>what does it say about humankind that for generations and

0:20:42.600 --> 0:20:46.120
<v Speaker 1>generations tyranny reigned? Who am I to think we can

0:20:46.200 --> 0:20:49.720
<v Speaker 1>gird against it? Bigotry is taught. I know that, but

0:20:49.760 --> 0:20:52.080
<v Speaker 1>I wish it weren't so easily learned. I wish humans

0:20:52.080 --> 0:20:55.320
<v Speaker 1>had to fail safe against it. All this time, I've

0:20:55.359 --> 0:20:58.000
<v Speaker 1>been thinking I was afraid of life outside the enclaves

0:20:58.000 --> 0:21:00.840
<v Speaker 1>with Enid, But maybe I'm afraid of life here too,

0:21:01.520 --> 0:21:04.919
<v Speaker 1>life everywhere. Afraid of people on what we're capable of.

0:21:05.680 --> 0:21:08.159
<v Speaker 1>Maybe not in this time, but if it happened in another.

0:21:08.800 --> 0:21:10.600
<v Speaker 1>I want to go back in time and deliver my

0:21:10.640 --> 0:21:13.760
<v Speaker 1>oration to them. But something makes me think that make

0:21:13.840 --> 0:21:17.760
<v Speaker 1>no difference at all. My heart beats and beats lead

0:21:17.840 --> 0:21:20.719
<v Speaker 1>in my chest. It's an exhilarating thought to know that

0:21:20.760 --> 0:21:24.280
<v Speaker 1>nothing I say could matter. If such a thing were possible,

0:21:24.680 --> 0:21:27.320
<v Speaker 1>I'd be sorely tempted to build a time machine, to

0:21:27.400 --> 0:21:30.879
<v Speaker 1>go before people of the past and say, let us

0:21:31.080 --> 0:21:37.080
<v Speaker 1>Dike's fucking rut. We're all part god born raging. Let

0:21:37.200 --> 0:21:39.760
<v Speaker 1>us who wish to be soothed by this intimacy be

0:21:39.880 --> 0:21:42.880
<v Speaker 1>soothed by it. I don't know why I'm so raw,

0:21:43.000 --> 0:21:46.440
<v Speaker 1>so goddamn afraid you'd think my life is a tragedy

0:21:46.480 --> 0:21:49.280
<v Speaker 1>to hear me talk about my loving home, my loving

0:21:49.280 --> 0:21:52.800
<v Speaker 1>community of kinfolk. The world as I understand it is

0:21:52.840 --> 0:21:55.600
<v Speaker 1>in a state of healing. Maybe I'm too much of

0:21:55.600 --> 0:21:58.560
<v Speaker 1>the sort who loves to pick a scab. I tear

0:21:58.600 --> 0:22:00.960
<v Speaker 1>a wat of fungus from the ground and smell it,

0:22:01.400 --> 0:22:03.400
<v Speaker 1>seeing if I can get a whiff of stink from

0:22:03.400 --> 0:22:07.400
<v Speaker 1>the world before the world of garbage. There's nothing left

0:22:07.440 --> 0:22:10.480
<v Speaker 1>of it. It just smells like food. Like in no

0:22:10.600 --> 0:22:13.119
<v Speaker 1>time at all, it will be soup simmering on the

0:22:13.200 --> 0:22:17.439
<v Speaker 1>stove with butter and milk. I'm coming with you, I

0:22:17.520 --> 0:22:20.560
<v Speaker 1>tell Enid. Her smile in that moment is all the

0:22:20.600 --> 0:22:22.720
<v Speaker 1>assurance that there is more good than bad in the

0:22:22.760 --> 0:22:26.359
<v Speaker 1>world I need. I follow her through the trash garden,

0:22:26.800 --> 0:22:33.560
<v Speaker 1>out the enclave, into the world the end. Welcome back,

0:22:33.600 --> 0:22:38.040
<v Speaker 1>dear listener. Okay, this feels like I know we say

0:22:38.080 --> 0:22:40.240
<v Speaker 1>that there's a lot of stories this is a quintessential

0:22:40.240 --> 0:22:44.280
<v Speaker 1>book club story because we love running stories about climate

0:22:44.320 --> 0:22:48.280
<v Speaker 1>adaptation and finding hope in a fucked up world. Hazel,

0:22:48.359 --> 0:22:51.119
<v Speaker 1>who helps behind the scenes, has to say about this story.

0:22:52.760 --> 0:22:55.200
<v Speaker 1>Rivers has never been an author who pulls their punches,

0:22:55.560 --> 0:22:57.720
<v Speaker 1>and I love their commitment to pulling on the frayed

0:22:57.840 --> 0:23:00.600
<v Speaker 1>edges of the utopia they've crafted to see what I furls.

0:23:01.200 --> 0:23:04.000
<v Speaker 1>There are no easy answers or politics of convenience in

0:23:04.040 --> 0:23:06.960
<v Speaker 1>this story, but Rivers really manages to sell me on

0:23:07.040 --> 0:23:09.720
<v Speaker 1>how that might be a source of hope. If violence

0:23:09.720 --> 0:23:13.200
<v Speaker 1>and bigotry will always exist despite our better angels, where

0:23:13.200 --> 0:23:16.120
<v Speaker 1>do our responsibilities lie? What does it mean to still

0:23:16.160 --> 0:23:20.119
<v Speaker 1>embrace joy and desire? Okay? And then what I have

0:23:20.160 --> 0:23:21.560
<v Speaker 1>to say about it? What do I have to say

0:23:21.600 --> 0:23:24.880
<v Speaker 1>about it? Well, the way that I chose to live

0:23:24.920 --> 0:23:29.280
<v Speaker 1>my life in my twenties and early thirties is the

0:23:29.359 --> 0:23:32.119
<v Speaker 1>kind of person who's usually not the main character but

0:23:32.240 --> 0:23:37.680
<v Speaker 1>instead Enid right. That was much more how I chose

0:23:37.720 --> 0:23:40.479
<v Speaker 1>to live for a very long time. So it's always

0:23:40.480 --> 0:23:44.040
<v Speaker 1>interesting to read stories that are from the perspective of

0:23:44.160 --> 0:23:49.399
<v Speaker 1>talking to the vagabond, the wanderer, the In some ways,

0:23:49.280 --> 0:23:51.760
<v Speaker 1>it kind of the Manipixie dream girl, but not really,

0:23:51.800 --> 0:23:55.360
<v Speaker 1>and I actually think queerness kind of undermines that trope anyway,

0:23:55.440 --> 0:23:58.680
<v Speaker 1>in a good way, and so it's just always interesting

0:23:58.720 --> 0:24:03.080
<v Speaker 1>to me yet to read, especially like a loving portrayal

0:24:03.119 --> 0:24:05.399
<v Speaker 1>of that. Like I don't know if you've seen the

0:24:05.440 --> 0:24:08.560
<v Speaker 1>movie or read the book Foxfire, particularly like the Angelina

0:24:08.640 --> 0:24:11.480
<v Speaker 1>Julie version of this movie very influential to me in

0:24:11.520 --> 0:24:15.920
<v Speaker 1>the nineties, and even know the more recent one from

0:24:15.960 --> 0:24:19.080
<v Speaker 1>the mid odds or the early twenty tens whatever is

0:24:19.160 --> 0:24:21.639
<v Speaker 1>much more accurate to the original book Foxfire, which I

0:24:21.640 --> 0:24:25.399
<v Speaker 1>haven't read to be honest. Okay, anyway, this idea of

0:24:25.400 --> 0:24:27.960
<v Speaker 1>the hitchhiking vagabond who comes through especially kind of a

0:24:28.000 --> 0:24:30.639
<v Speaker 1>queer one who kind of like shows everyone in the

0:24:30.640 --> 0:24:32.719
<v Speaker 1>world and is like cool and has a leather jacket

0:24:32.760 --> 0:24:36.439
<v Speaker 1>and stuff like that, Right, I like that character, and

0:24:36.480 --> 0:24:39.640
<v Speaker 1>I specifically like the character in this sense where the

0:24:39.680 --> 0:24:45.040
<v Speaker 1>world that the protagonist is being asked to leave isn't

0:24:45.640 --> 0:24:48.439
<v Speaker 1>a terrible one, it's actually a perfectly nice one. And

0:24:48.520 --> 0:24:54.560
<v Speaker 1>yet like dangerous, freedom will always have an appeal even

0:24:54.600 --> 0:25:01.399
<v Speaker 1>in the kindest, nicest, nicest whatever utopia, there's always the

0:25:01.440 --> 0:25:04.840
<v Speaker 1>allure of dangerous freedom, and I really like that. I

0:25:04.880 --> 0:25:09.399
<v Speaker 1>also really like Enid's critique of you know, this idea

0:25:09.440 --> 0:25:11.159
<v Speaker 1>that like you have to have a college degree in

0:25:11.240 --> 0:25:13.960
<v Speaker 1>order to be an adult. I found that really compelling

0:25:14.440 --> 0:25:17.399
<v Speaker 1>as a college dropout. And the other thing I have

0:25:17.440 --> 0:25:20.960
<v Speaker 1>to remember, Okay, so when I was living in my van,

0:25:21.000 --> 0:25:23.000
<v Speaker 1>I was traveling around. I was in New Orleans and

0:25:23.040 --> 0:25:25.560
<v Speaker 1>there's a bunch of street kids and we were talking

0:25:25.640 --> 0:25:28.119
<v Speaker 1>to them. We weren't the furthest thing from street kids,

0:25:28.160 --> 0:25:30.480
<v Speaker 1>but you know, I had a band, so I was fancy.

0:25:30.840 --> 0:25:34.400
<v Speaker 1>And at one point I was like, wait, y'all don't

0:25:34.440 --> 0:25:36.760
<v Speaker 1>have packs, because that was like the one thing like

0:25:36.800 --> 0:25:38.959
<v Speaker 1>every street kid always as a pack. It's actually kind

0:25:38.960 --> 0:25:40.680
<v Speaker 1>of dangerous to have a pack, especially in New Orleans

0:25:40.720 --> 0:25:43.239
<v Speaker 1>like places where you can get like really targeted by

0:25:43.280 --> 0:25:46.560
<v Speaker 1>cops for being a travel kid or like being perceived

0:25:46.560 --> 0:25:48.480
<v Speaker 1>as homeless. A big travel pack is like a big

0:25:48.520 --> 0:25:52.199
<v Speaker 1>part of being perceived as like the wrong kind of

0:25:52.240 --> 0:25:56.479
<v Speaker 1>punk by the police. But it's so really essential to

0:25:56.480 --> 0:25:59.440
<v Speaker 1>have a pack with you. And so the fact that

0:25:59.680 --> 0:26:02.960
<v Speaker 1>Enid doesn't carry a pack, it reminds me of when

0:26:02.960 --> 0:26:06.560
<v Speaker 1>I was asking this, you know, train hopper woman in

0:26:06.680 --> 0:26:08.880
<v Speaker 1>New Orleans. I was like, why don't you have a pack?

0:26:09.400 --> 0:26:11.480
<v Speaker 1>And she looks at me. She's day drunk, and she

0:26:11.560 --> 0:26:16.240
<v Speaker 1>goes gearless and fearless, and everyone around her starts chanting

0:26:16.280 --> 0:26:20.080
<v Speaker 1>gearless and fearless. And that's what Saint Enid is. Okay.

0:26:20.080 --> 0:26:22.160
<v Speaker 1>The other thing about the Saints thing that I find

0:26:22.200 --> 0:26:25.359
<v Speaker 1>really compelling about this story the fact that it's called

0:26:25.400 --> 0:26:32.719
<v Speaker 1>Saint Juju. It's saying all of us can become amazing people.

0:26:33.760 --> 0:26:37.640
<v Speaker 1>All of us can choose to become these like iconic

0:26:38.320 --> 0:26:42.760
<v Speaker 1>and brave and interesting individuals. You know. At the beginning

0:26:42.800 --> 0:26:45.560
<v Speaker 1>of it, she's like, oh, Enid, Saint Enid, Like, ain't

0:26:45.560 --> 0:26:49.840
<v Speaker 1>it's the one who's like special and cool, right, But

0:26:50.040 --> 0:26:53.600
<v Speaker 1>so is Juju. So is this person who doesn't know

0:26:53.600 --> 0:26:56.880
<v Speaker 1>how to shut up, who's socially anxious, who has lived

0:26:56.920 --> 0:27:02.159
<v Speaker 1>a very protected life. She's Saint Juju too. Like you

0:27:02.320 --> 0:27:05.000
<v Speaker 1>too can put on a leather jacket. You know, you

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<v Speaker 1>don't even have to put on all the jacket, but

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<v Speaker 1>I'm using this as a symbol in this particular case. Anyway.

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<v Speaker 1>That's one of the things that really appealed to me

0:27:11.560 --> 0:27:17.480
<v Speaker 1>about this story. As for the author, here's their bio

0:27:18.400 --> 0:27:21.160
<v Speaker 1>River Solomon is a writer, a lecturer, and a refugee

0:27:21.160 --> 0:27:24.080
<v Speaker 1>of the Transatlantic slave trade. Their home is in the

0:27:24.080 --> 0:27:27.560
<v Speaker 1>realm of the imaginary, where blackness, queerness, and disability become

0:27:27.640 --> 0:27:31.080
<v Speaker 1>sites of insurgency. In addition to appearing on the Stonewall

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<v Speaker 1>Honor List and winning a Firecracker Award, Solomon's debut novel

0:27:35.119 --> 0:27:38.160
<v Speaker 1>and Unkindness of Ghosts, was a finalist for a Lambda,

0:27:38.600 --> 0:27:42.160
<v Speaker 1>a Hearst Right, and a Locus Award. Solomon's The Deep

0:27:42.600 --> 0:27:44.960
<v Speaker 1>was the winner of the twenty twenty Lambda Award and

0:27:45.080 --> 0:27:47.200
<v Speaker 1>was on the short list for a Nebula, Locus, World

0:27:47.200 --> 0:27:50.520
<v Speaker 1>Fantasy and Hugo Award. Emerging out of a collaboration with

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<v Speaker 1>experimental hip hop group Clipping, fronted by David Diggs, The

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<v Speaker 1>Deep investigates Tony Morrison's incantation in the novel Beloved, This

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<v Speaker 1>is Not a Story to pass On. Solomon's third novel, Sorrowland,

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<v Speaker 1>the story of a young woman's godlike metamorphosis, when the

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<v Speaker 1>Stonewall and Otherwise Award, and was shortlisted for an Ignite

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<v Speaker 1>Award and Model Home. Solomon's latest novel has recently released

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<v Speaker 1>a critical acclaim and I'm Margaret Kiljoy and you can

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<v Speaker 1>find me on the internet. And Hazel writes with scripts

0:28:22.200 --> 0:28:25.520
<v Speaker 1>and scheduling and you cannot find them. And Eva does

0:28:25.560 --> 0:28:28.399
<v Speaker 1>our audio. And that's it for today. We will be

0:28:28.440 --> 0:28:32.040
<v Speaker 1>back next week with another short story. Until then, land

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<v Speaker 1>back pre Palestine, fuck ice, and towards a complicated utopia.

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<v Speaker 1>It could Happen here as a production of cool Zone Media.

0:28:43.240 --> 0:28:45.880
<v Speaker 1>For more podcasts from cool Zone Media, visit our website

0:28:45.920 --> 0:28:48.160
<v Speaker 1>cool zonemedia dot com, or check us out on the

0:28:48.200 --> 0:28:51.640
<v Speaker 1>iHeartRadio app, Apple Podcasts, or wherever you listen to podcasts.

0:28:52.200 --> 0:28:54.320
<v Speaker 1>You can find sources where it Could Happen here, updated

0:28:54.400 --> 0:28:58.440
<v Speaker 1>monthly at cool zonemedia dot com slash sources. Thanks for listening,

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<v Speaker 1>Just