1 00:00:01,720 --> 00:00:03,240 Speaker 1: Cool Zone Media. 2 00:00:06,800 --> 00:00:11,560 Speaker 2: Book Club book Club book Club book Club. Hello and 3 00:00:11,720 --> 00:00:15,800 Speaker 2: welcome to the Cool Zone Media book Club. I'm your host, 4 00:00:15,840 --> 00:00:19,560 Speaker 2: Margaret Kiljoy, and today we are finishing up the story 5 00:00:19,680 --> 00:00:23,279 Speaker 2: moon Kids by Abby may Otis. If you didn't listen 6 00:00:23,320 --> 00:00:26,319 Speaker 2: to the first part, well that's strange. That is a 7 00:00:26,360 --> 00:00:29,520 Speaker 2: strange decision to have made. You should listen to part one. 8 00:00:30,440 --> 00:00:34,040 Speaker 2: I guess I'm not actually in charge of you. Where 9 00:00:34,080 --> 00:00:37,159 Speaker 2: we last left off, we were following a clique of 10 00:00:37,280 --> 00:00:40,360 Speaker 2: moon kids, young adults who grew up in the science 11 00:00:40,479 --> 00:00:44,280 Speaker 2: utopia on the Moon but failed their aptitude tests and 12 00:00:44,320 --> 00:00:47,680 Speaker 2: were sent back to Earth. But because of the gravity shift, 13 00:00:47,680 --> 00:00:50,280 Speaker 2: their whole bodies have been compressed down about six inches 14 00:00:50,880 --> 00:00:53,840 Speaker 2: and they're you know, kind kind of funny looking by 15 00:00:54,000 --> 00:00:57,600 Speaker 2: Earth standards. And so far in the story, just to 16 00:00:57,640 --> 00:01:00,440 Speaker 2: bring you up to speed, you have I met the 17 00:01:00,480 --> 00:01:04,039 Speaker 2: following characters. You've met Colleen, who has her shit together 18 00:01:04,200 --> 00:01:07,000 Speaker 2: and his mom to all the newly arrived moonkids, who's 19 00:01:07,040 --> 00:01:11,319 Speaker 2: probably our protagonist. And there's Tesla, manager of the crabby 20 00:01:11,360 --> 00:01:14,080 Speaker 2: Abby's crab Shack where her crew all works, but she's 21 00:01:14,120 --> 00:01:18,240 Speaker 2: not adjusting well to Earth life. And there's trespass Tesla's 22 00:01:18,280 --> 00:01:21,720 Speaker 2: punk ass younger brother as a big mouth. And there's Abitha, 23 00:01:22,040 --> 00:01:25,200 Speaker 2: who has newly arrived as the hot shit baddie who 24 00:01:25,240 --> 00:01:28,520 Speaker 2: has big ambitions and is slowly getting plastic surgeries to 25 00:01:28,520 --> 00:01:32,639 Speaker 2: become desirable. Abitha has just riled up all the boys 26 00:01:32,680 --> 00:01:35,680 Speaker 2: on the beach, talking a big game about how hot 27 00:01:35,720 --> 00:01:37,800 Speaker 2: she's going to be one day, only to be interrupted 28 00:01:37,800 --> 00:01:40,959 Speaker 2: by Tesla, who has returned in tears. Trespass has stayed 29 00:01:40,959 --> 00:01:43,120 Speaker 2: on the beach to fight some rude boys, but not 30 00:01:43,480 --> 00:01:47,480 Speaker 2: rude boys like not people into ska, but instead boys 31 00:01:47,480 --> 00:01:50,760 Speaker 2: who are rude, and the girls head back to Colleen's 32 00:01:50,760 --> 00:01:53,919 Speaker 2: place for the second parts of Moon Kids by Abby 33 00:01:54,000 --> 00:01:56,800 Speaker 2: may otis and just as a note if you're like 34 00:01:57,800 --> 00:02:00,240 Speaker 2: but how did their voices change between parts of one 35 00:02:00,240 --> 00:02:04,160 Speaker 2: and two? Is it part of the narrative or is 36 00:02:04,200 --> 00:02:06,760 Speaker 2: it the showbiz of the fact that I'm recording this 37 00:02:06,800 --> 00:02:09,960 Speaker 2: a week later and I only recently decided to do 38 00:02:10,040 --> 00:02:11,880 Speaker 2: voices at all, and so I'm not going to do 39 00:02:11,919 --> 00:02:15,480 Speaker 2: it perfectly. It could be either one of those things. 40 00:02:15,800 --> 00:02:21,320 Speaker 2: Moon Kids by Abby may otis Part two out of two. 41 00:02:23,680 --> 00:02:27,040 Speaker 2: You must be disgusted with me. Tesla flops her head 42 00:02:27,040 --> 00:02:30,400 Speaker 2: into Colleen's lap. Girls are on the futon couch and 43 00:02:30,440 --> 00:02:34,240 Speaker 2: Colleen's apartment just one room on the first floor with 44 00:02:34,320 --> 00:02:36,920 Speaker 2: an afterthought of a bathroom and a kitchen stowed away 45 00:02:36,919 --> 00:02:40,360 Speaker 2: in one corner. But her front door slides open to 46 00:02:40,440 --> 00:02:44,280 Speaker 2: a sandy street, and across the street is a sandy sidewalk, 47 00:02:44,680 --> 00:02:49,320 Speaker 2: and past that is the roaring, suckling, spitting old man's sea. 48 00:02:49,800 --> 00:02:54,320 Speaker 2: Colleen pet's Tesla's hair. I'm not disgusted with you, then 49 00:02:54,360 --> 00:02:57,920 Speaker 2: you're a saint. I'd be disgusted with me. The room 50 00:02:57,919 --> 00:03:02,600 Speaker 2: smells like lemons and salt stiff clothes. This afternoon Tesla 51 00:03:02,639 --> 00:03:06,280 Speaker 2: spent locked in the old time Quick Mart bathroom. Some 52 00:03:06,480 --> 00:03:08,880 Speaker 2: brash mouth earth lady tried to pick her up in 53 00:03:08,880 --> 00:03:14,000 Speaker 2: the oral hygiene aisle, and fragile girl freaked. She called 54 00:03:14,080 --> 00:03:19,360 Speaker 2: me loomy nus bean. Tesla rolls the word on the 55 00:03:19,360 --> 00:03:22,880 Speaker 2: front of her tongue for disgusted emphasis. She said something 56 00:03:22,919 --> 00:03:25,919 Speaker 2: about devotion. She probably wanted me to go recharge her 57 00:03:25,919 --> 00:03:29,679 Speaker 2: goddamn crystals. Colleen does a belly laugh that makes Tesla's 58 00:03:29,720 --> 00:03:32,680 Speaker 2: head shake up and down. You should have you should 59 00:03:32,680 --> 00:03:36,520 Speaker 2: have done her star charts blown her fritzy mind. Tesla 60 00:03:36,560 --> 00:03:38,640 Speaker 2: groans and reaches out to play with the rocks on 61 00:03:38,720 --> 00:03:44,000 Speaker 2: the side table. Colleen likes rock smooth, symmetrical, ovoid. She 62 00:03:44,040 --> 00:03:46,160 Speaker 2: brings them home and finds that anyone who comes through 63 00:03:46,200 --> 00:03:49,240 Speaker 2: the apartment likes to cradle them big as a finger, 64 00:03:49,720 --> 00:03:54,200 Speaker 2: big as a fist, earth bones in every color. Tesla 65 00:03:54,280 --> 00:03:56,680 Speaker 2: lays a green pebble in each palm and rubs them 66 00:03:56,720 --> 00:03:59,280 Speaker 2: with the hands of her thumbs, holds them up to 67 00:03:59,320 --> 00:04:02,640 Speaker 2: her ears like secret listening, brings them to her lips 68 00:04:02,880 --> 00:04:07,440 Speaker 2: like a kiss. Colleen's distracted by a phantom pressure on 69 00:04:07,480 --> 00:04:10,440 Speaker 2: her upper arms. She worries at the memory until she 70 00:04:10,480 --> 00:04:14,320 Speaker 2: can place it. Abitha's hands at the party, shaking her shoulders, 71 00:04:14,440 --> 00:04:17,840 Speaker 2: pulling her close. She twists her head and presses her 72 00:04:17,880 --> 00:04:22,120 Speaker 2: mouth to her arm flesh. Why then, no seeking a 73 00:04:22,160 --> 00:04:27,840 Speaker 2: taste like how the ocean's touch leaves behind fingerprints of salt. 74 00:04:28,160 --> 00:04:30,320 Speaker 2: Suso has a bunch of people over at his piece 75 00:04:30,360 --> 00:04:35,040 Speaker 2: together house. Abitha shows up with legs like strange long twigs, 76 00:04:35,800 --> 00:04:38,200 Speaker 2: balks still on her belly and ass, but her hips 77 00:04:38,200 --> 00:04:42,479 Speaker 2: all carved away. She walks like a newborn fawn, cackles 78 00:04:42,520 --> 00:04:46,680 Speaker 2: like a raven told you. I told you I'd do it. 79 00:04:47,040 --> 00:04:49,120 Speaker 2: Ugly mugs thought I was full of shit, But I 80 00:04:49,360 --> 00:04:52,719 Speaker 2: told you doctor had a big laser. He was over 81 00:04:52,800 --> 00:04:56,359 Speaker 2: in ten minutes. They ask how she paid for it. 82 00:04:56,480 --> 00:04:59,680 Speaker 2: She says, fill out the right forms, smile at the 83 00:04:59,760 --> 00:05:02,440 Speaker 2: right place. People. It was state of the fucking art. 84 00:05:02,480 --> 00:05:05,840 Speaker 2: I'll tell you that I'm doing this shit right. She 85 00:05:05,920 --> 00:05:09,520 Speaker 2: flings her arms out, shakes her hips. Next stop torso, 86 00:05:10,040 --> 00:05:15,920 Speaker 2: next stop shoulders, next stop face. Colleen stays out of 87 00:05:15,960 --> 00:05:18,839 Speaker 2: the fray, though all night she can feel Abitha raking 88 00:05:18,880 --> 00:05:22,520 Speaker 2: her with her eyes. Finally, Colleen slips out the sliding 89 00:05:22,560 --> 00:05:25,840 Speaker 2: door and stands on the sidewalk, leaning against the vinyl 90 00:05:25,920 --> 00:05:30,240 Speaker 2: siding of the apartment building. Tesla's funk is making her anxious. 91 00:05:30,680 --> 00:05:32,680 Speaker 2: She thinks about how it's like some people have a 92 00:05:32,839 --> 00:05:37,120 Speaker 2: broken vase inside them, the pieces never quite fit back together. 93 00:05:38,120 --> 00:05:41,200 Speaker 2: She turns and finds Abitha right up in her face. 94 00:05:42,760 --> 00:05:47,359 Speaker 2: Holy shit, sorry, Abitha looks the opposite of sorry. She 95 00:05:47,480 --> 00:05:51,520 Speaker 2: nudges Colleen. Hey, uh, I wanted to ask you a question. 96 00:05:52,320 --> 00:05:56,240 Speaker 2: I heard a thing about you. Oh yeah. At some 97 00:05:56,320 --> 00:05:59,440 Speaker 2: point or another, everyone hears a thing about Colleen She 98 00:05:59,520 --> 00:06:01,880 Speaker 2: tries to look like she doesn't know what Abetha means 99 00:06:01,920 --> 00:06:04,880 Speaker 2: and doesn't want to like that'll make the girl go away. 100 00:06:06,000 --> 00:06:09,599 Speaker 2: What I heard, Beetha grinds the gristle of her question 101 00:06:10,600 --> 00:06:14,440 Speaker 2: is that you didn't take the exams. Yep, that's what 102 00:06:14,480 --> 00:06:18,040 Speaker 2: they hear. Colleen stands perfectly still and stares out across 103 00:06:18,080 --> 00:06:21,680 Speaker 2: the parking lot. Then really slow, she brings her head 104 00:06:21,960 --> 00:06:25,520 Speaker 2: up and down. It's the first time she's seen Abetha struck. 105 00:06:25,600 --> 00:06:28,839 Speaker 2: Silent girl doesn't ask why not, but it's in the 106 00:06:28,880 --> 00:06:31,080 Speaker 2: cant of her head and the tap of her fingers. 107 00:06:31,520 --> 00:06:36,480 Speaker 2: So finally Colleen answers, I didn't want to do research, 108 00:06:37,000 --> 00:06:39,520 Speaker 2: didn't want to be a scientist, had some dumb ass 109 00:06:39,600 --> 00:06:45,440 Speaker 2: idea about art. She laughs at herself, bitter seal bark. Yeah, Colleen, 110 00:06:45,480 --> 00:06:47,839 Speaker 2: you thought you were pretty fricking cool, didn't you, sitting 111 00:06:47,839 --> 00:06:51,080 Speaker 2: in the exam room with your hundred classmates, typing dirty 112 00:06:51,080 --> 00:06:54,640 Speaker 2: limericks into the answer screens, hitting the submit button and 113 00:06:54,720 --> 00:06:58,599 Speaker 2: sending in fifty six pages of blank, blank blank. You 114 00:06:58,640 --> 00:07:00,680 Speaker 2: were going to stick it to the man. You are 115 00:07:00,720 --> 00:07:02,960 Speaker 2: going to shuck off your parents and your friends and 116 00:07:03,000 --> 00:07:06,800 Speaker 2: your whole little, sanitized, climate controlled life, all in the 117 00:07:06,880 --> 00:07:10,960 Speaker 2: name of that snarky pagan god called art you lovely 118 00:07:11,040 --> 00:07:14,720 Speaker 2: fucking revolutionary. But there were those first months when she 119 00:07:14,840 --> 00:07:17,320 Speaker 2: arrived on Earth and found it so full of artists 120 00:07:17,720 --> 00:07:21,000 Speaker 2: its eyes were turning tiedie, when she tried to enroll 121 00:07:21,040 --> 00:07:23,040 Speaker 2: in a narrative school and got laughed out of the 122 00:07:23,040 --> 00:07:27,160 Speaker 2: admissions room. Because the truth is, Colleen, in this post consumer, 123 00:07:27,280 --> 00:07:31,360 Speaker 2: post information fever dream of a world, creativity is a 124 00:07:31,440 --> 00:07:36,080 Speaker 2: vital fluid. The inhabitants of these cities swim in virtual galaxies. 125 00:07:36,680 --> 00:07:40,080 Speaker 2: They sculpt their bodies into fairy tale shapes. They lick 126 00:07:40,160 --> 00:07:44,720 Speaker 2: the lines between reality and fantasy, body and mind until 127 00:07:44,720 --> 00:07:48,720 Speaker 2: everything melts together like ice cream, all because of Luna, 128 00:07:49,280 --> 00:07:53,040 Speaker 2: gleaming white, sacrificial lamb. It took three years for Colleen 129 00:07:53,120 --> 00:07:56,240 Speaker 2: to get this research happens on Luna, so pleasure can 130 00:07:56,240 --> 00:07:59,760 Speaker 2: happen on Earth. The beautiful Earth people. They don't have 131 00:07:59,800 --> 00:08:02,880 Speaker 2: time to concern themselves with the twitching, blinking nerd men 132 00:08:03,000 --> 00:08:05,640 Speaker 2: from the Moon. They for sure don't have time for 133 00:08:05,720 --> 00:08:08,720 Speaker 2: some flabby beech bum kids who wobble when they walk. 134 00:08:10,000 --> 00:08:13,720 Speaker 2: So Colleen falls back on what she knows. She soothes Tesla, 135 00:08:13,760 --> 00:08:17,000 Speaker 2: and she rolls her eyes at trespass. She's good at 136 00:08:17,000 --> 00:08:19,880 Speaker 2: giving people a place to crash. She's good at serving 137 00:08:19,920 --> 00:08:22,880 Speaker 2: fried food. When she dreams of the moon, her visions 138 00:08:22,880 --> 00:08:27,160 Speaker 2: are colored amethyst and silver, and midnight, the desolate, gaping 139 00:08:27,200 --> 00:08:29,920 Speaker 2: planes of home wake her up with tears streaming down 140 00:08:29,960 --> 00:08:33,000 Speaker 2: her cheeks. She'd like to dig her nails into random 141 00:08:33,040 --> 00:08:37,199 Speaker 2: people on the street. Moonkids no pain, she'd shriek to them. 142 00:08:37,559 --> 00:08:42,240 Speaker 2: Moonkids could make beauty. But she doesn't. Oh, Colleen, no 143 00:08:42,280 --> 00:08:46,880 Speaker 2: one wants to hear about that. But dear listener, do 144 00:08:46,960 --> 00:08:49,319 Speaker 2: you know what else? No one wants to hear about 145 00:08:49,360 --> 00:09:02,320 Speaker 2: the products and services that support this show? And we 146 00:09:03,120 --> 00:09:11,920 Speaker 2: are back. Abetha grabs her wrist. I knew there was 147 00:09:11,960 --> 00:09:16,160 Speaker 2: something something. You don't go around moping like everyone else. 148 00:09:16,920 --> 00:09:23,240 Speaker 2: Her fingers palpitate up Colleen's forearm. You're so tense, Colleen 149 00:09:23,320 --> 00:09:27,080 Speaker 2: tries to pull away. She wants to say Tesla doesn't mope, 150 00:09:27,440 --> 00:09:30,240 Speaker 2: But that's such a lie. And it's true about the 151 00:09:30,280 --> 00:09:32,840 Speaker 2: rest of them too, How they shiver, how they cling. 152 00:09:33,440 --> 00:09:36,600 Speaker 2: Sometimes it builds like sludge on her brain until she 153 00:09:36,640 --> 00:09:40,960 Speaker 2: wants to fling them all into the ocean. I told 154 00:09:40,960 --> 00:09:45,640 Speaker 2: myself I'd be different. Abetha scrutinizes Colleen's wrist. I knew 155 00:09:45,679 --> 00:09:48,120 Speaker 2: i'd fail. I was never any good at that shit. 156 00:09:48,679 --> 00:09:53,040 Speaker 2: I figured might as well embrace it. She doesn't say 157 00:09:53,080 --> 00:09:58,000 Speaker 2: anything else because Colleen leans in and kisses her. Somehow. 158 00:09:58,040 --> 00:10:00,480 Speaker 2: They are down the street and then Colleen's apartarment and 159 00:10:00,520 --> 00:10:04,520 Speaker 2: on the futon. Abetha's hands are up her shirt, tracing 160 00:10:04,640 --> 00:10:08,680 Speaker 2: orbits around her breasts. The moon is hidden behind clouds tonight, 161 00:10:09,120 --> 00:10:13,000 Speaker 2: a milky haze that leeches through the window. Colleen reaches 162 00:10:13,000 --> 00:10:16,520 Speaker 2: for Abetha's hips and peels her shorts down. The scarf 163 00:10:16,559 --> 00:10:19,040 Speaker 2: from her bone shave runs down the outside of her 164 00:10:19,080 --> 00:10:22,960 Speaker 2: leg from hip to knee. The skin is sunken in gray. 165 00:10:23,720 --> 00:10:26,600 Speaker 2: A line of pale puffs oozes between the stitches and 166 00:10:26,679 --> 00:10:31,800 Speaker 2: catches the moonlight. It doesn't hurt Abeitha puts a hand 167 00:10:31,880 --> 00:10:34,640 Speaker 2: on Colleen's cheek and forces her eyes away from the wound. 168 00:10:35,280 --> 00:10:39,920 Speaker 2: Leave it. Her words rasp in a language Colleen doesn't understand. 169 00:10:40,480 --> 00:10:44,000 Speaker 2: Her long hair hangs in her face, brushes over her stomach. 170 00:10:44,600 --> 00:10:46,800 Speaker 2: She must have been growing it for years. On Luna, 171 00:10:46,920 --> 00:10:50,520 Speaker 2: Colleen realizes she must have planned to let it down. 172 00:10:51,280 --> 00:10:53,640 Speaker 2: The clouds shift and for a moment. The moon gets 173 00:10:53,679 --> 00:10:58,640 Speaker 2: an eye full of them, then is obscured. Colleen clamps 174 00:10:58,640 --> 00:11:01,600 Speaker 2: one of Abetha's legs between in her own knees, shoves 175 00:11:01,600 --> 00:11:05,439 Speaker 2: her other thigh up with her hand, leans down, breathing hard, 176 00:11:05,520 --> 00:11:08,760 Speaker 2: sticks her tongue into the dark. New Girl tastes like 177 00:11:08,840 --> 00:11:12,360 Speaker 2: clam juice, which is to say, salt water and body. 178 00:11:13,160 --> 00:11:16,480 Speaker 2: Abetha makes a noise like a gull. Something shakes in 179 00:11:16,520 --> 00:11:19,840 Speaker 2: her thigh. Then she sits up and pushes Colleen back. 180 00:11:20,240 --> 00:11:22,760 Speaker 2: Her eyes are dark and liquid, and Colleen thinks she 181 00:11:22,840 --> 00:11:29,480 Speaker 2: sees something broken open. Abetha licks her lips. You, She says, 182 00:11:30,280 --> 00:11:33,880 Speaker 2: you could be lunarian. Her voice is thick with longing. 183 00:11:34,720 --> 00:11:37,439 Speaker 2: Colleen has thought about this every day for three years. 184 00:11:37,920 --> 00:11:41,120 Speaker 2: She imagines filling in the exam blanks with serious answers. 185 00:11:41,640 --> 00:11:44,080 Speaker 2: She imagines filling them in with her whole brain and 186 00:11:44,160 --> 00:11:49,480 Speaker 2: whole heart. She can picture the congratulations, the celebrations, the cool, 187 00:11:49,600 --> 00:11:52,840 Speaker 2: close embrace of her family, and the tunnels of Luna. 188 00:11:53,640 --> 00:11:57,240 Speaker 2: She shrugs at Abeitha, No, I couldn't. I've been here 189 00:11:57,280 --> 00:12:00,880 Speaker 2: long enough to figure that out. Abetha shakes her head stubbornly. 190 00:12:01,840 --> 00:12:05,400 Speaker 2: But you don't know for sure. Suddenly the three years 191 00:12:05,440 --> 00:12:08,840 Speaker 2: that separate them feel like ages, three years of earth pole, 192 00:12:08,920 --> 00:12:12,640 Speaker 2: of fighting, of just barely making it. They stretch miles 193 00:12:12,679 --> 00:12:16,760 Speaker 2: wider than Colleen's whole childhood on Luna. If I had passed, 194 00:12:17,040 --> 00:12:19,400 Speaker 2: there are other things I would never have known. I 195 00:12:19,480 --> 00:12:23,080 Speaker 2: made a choice. I'm not really any different, and you 196 00:12:23,160 --> 00:12:26,320 Speaker 2: aren't either. She thinks, I didn't see that at first. 197 00:12:26,760 --> 00:12:29,959 Speaker 2: She reaches out to pet Abetha's shoulder. The other girl's 198 00:12:30,040 --> 00:12:33,360 Speaker 2: questions drive sadness into her like a wedge. Her mouth 199 00:12:33,440 --> 00:12:38,720 Speaker 2: is dry. Abeitha pulls away. You are different, she insists. 200 00:12:39,160 --> 00:12:41,679 Speaker 2: The door that had cracked open in her eyes now 201 00:12:41,760 --> 00:12:46,720 Speaker 2: so fast, clang shut, weird. Different. There it is back 202 00:12:46,760 --> 00:12:49,080 Speaker 2: in her eyes, the tinge of distaste that makes her 203 00:12:49,120 --> 00:12:51,600 Speaker 2: look more like an Earth girl than any body mod 204 00:12:51,640 --> 00:12:55,480 Speaker 2: ever will. She is retreating and retreating, like the tide. 205 00:12:55,960 --> 00:12:58,840 Speaker 2: They sit in silence for a moment. Then Abetha stirs, 206 00:13:00,120 --> 00:13:03,679 Speaker 2: I think I should go inhaling as the fabric skates 207 00:13:03,720 --> 00:13:07,480 Speaker 2: over her scars. Colleen doesn't turn and watch her go 208 00:13:07,520 --> 00:13:14,440 Speaker 2: out the door. So Sandpoint, crappy, little gum wrapper town, 209 00:13:15,280 --> 00:13:18,920 Speaker 2: undeserving of so many stories, so much love, But this 210 00:13:19,080 --> 00:13:22,120 Speaker 2: not quite ground and not quite water. They own it, 211 00:13:22,880 --> 00:13:25,719 Speaker 2: this sliver of country, with its ever changing dunes in 212 00:13:25,840 --> 00:13:31,079 Speaker 2: sinuous shoreline. It's theirs. Knowing is a kind of possession, 213 00:13:31,480 --> 00:13:34,079 Speaker 2: and they know where the tide pools form, where the 214 00:13:34,120 --> 00:13:37,480 Speaker 2: weed is sold, which beachfront property owners don't mind if 215 00:13:37,520 --> 00:13:41,480 Speaker 2: you cut through their yards in constant of course. But 216 00:13:41,600 --> 00:13:45,360 Speaker 2: remember their moon kids. They're used to not owning things 217 00:13:45,360 --> 00:13:48,880 Speaker 2: for real. They were raised in home pods doled out 218 00:13:48,880 --> 00:13:52,680 Speaker 2: by the government. The moon knows sleeping space and study space. 219 00:13:53,400 --> 00:13:57,199 Speaker 2: The moon knows regulated recreation zones and one vacation day 220 00:13:57,200 --> 00:13:59,959 Speaker 2: per month. The moon knows you are part of the Mashie, 221 00:14:00,440 --> 00:14:03,120 Speaker 2: and it presses that knowledge in on you. It gives 222 00:14:03,120 --> 00:14:06,840 Speaker 2: you disposable clothes and flavorless food, and raises you with 223 00:14:06,880 --> 00:14:09,840 Speaker 2: the knowledge that you, too, are only worth the research 224 00:14:09,880 --> 00:14:14,760 Speaker 2: you produce. Sweet little cogs of mine, funny then sick 225 00:14:14,800 --> 00:14:18,000 Speaker 2: and sad. How souls find something to latch onto even 226 00:14:18,080 --> 00:14:22,240 Speaker 2: in the bleakest environs. How hungry bodies are to belong 227 00:14:23,000 --> 00:14:26,920 Speaker 2: little lunarian kids. Their brains know nothing is guaranteed, but 228 00:14:26,960 --> 00:14:30,360 Speaker 2: their hearts cling like hermit crabs on driftwood. As the 229 00:14:30,440 --> 00:14:35,400 Speaker 2: tide comes in December, after they turn sixteen, the exams come. 230 00:14:36,080 --> 00:14:39,520 Speaker 2: The wind whips up the water January, the scores get 231 00:14:39,520 --> 00:14:45,120 Speaker 2: mailed out, crash, big waves, slam down, froth and churn, 232 00:14:45,360 --> 00:14:48,360 Speaker 2: and when the water recedes again, some of those crabs, 233 00:14:48,400 --> 00:14:52,200 Speaker 2: those cogs, those bright eyed girls and boys, are swept 234 00:14:52,520 --> 00:14:57,200 Speaker 2: clean away. In the night, Colleen flees down to the beach, 235 00:14:57,320 --> 00:15:01,640 Speaker 2: kneels by the water, sand collapsing all swirly around her legs. 236 00:15:02,280 --> 00:15:04,360 Speaker 2: She puts her mouth into the sea and hails, and 237 00:15:04,440 --> 00:15:07,640 Speaker 2: the salt water barrels down her throat like a bullet train, 238 00:15:08,520 --> 00:15:13,840 Speaker 2: burns tracks into her tongue. Girl falls backwards, coughing. Her 239 00:15:13,840 --> 00:15:17,640 Speaker 2: hair goes smack in the wet sand. Turn her head. 240 00:15:17,640 --> 00:15:20,400 Speaker 2: One way down the beach. There is an old petrol 241 00:15:20,480 --> 00:15:24,120 Speaker 2: car parked on the sand, people dancing like paper cutouts 242 00:15:24,120 --> 00:15:27,320 Speaker 2: in the headlight glow. They kick up shells and gallop 243 00:15:27,400 --> 00:15:31,000 Speaker 2: down to the water edge to scream and spit. Turn 244 00:15:31,040 --> 00:15:33,720 Speaker 2: her head the other way up the beach is a dark, 245 00:15:33,840 --> 00:15:37,840 Speaker 2: slick shape of something big, jelly or rotten tire or 246 00:15:37,880 --> 00:15:42,200 Speaker 2: sulky skin, salt and body. The ocean is nothing but 247 00:15:42,280 --> 00:15:46,720 Speaker 2: salt and body. Coliene drinks sea water till her eyes ache, 248 00:15:47,080 --> 00:15:51,280 Speaker 2: thinking with each suck, go ahead, put the flame to us, 249 00:15:51,840 --> 00:15:54,840 Speaker 2: just see if we melt and flow away, gulps until 250 00:15:54,840 --> 00:15:57,600 Speaker 2: her stomach revolts, and then she pukes it up and 251 00:15:57,720 --> 00:16:00,960 Speaker 2: walks a long way into town. By the time she 252 00:16:01,000 --> 00:16:04,320 Speaker 2: reaches her apartment, the sand has dried on her. She 253 00:16:04,320 --> 00:16:08,240 Speaker 2: brushes it off like dust and climbs into bed, sweet 254 00:16:08,280 --> 00:16:12,200 Speaker 2: and clean. And do you know what else in time 255 00:16:12,520 --> 00:16:16,400 Speaker 2: will brush off like dried sand. Not these products and 256 00:16:16,480 --> 00:16:20,680 Speaker 2: services that support this show. They are eternal, like the 257 00:16:20,720 --> 00:16:33,680 Speaker 2: moon itself. That's how good of deals they are. And 258 00:16:33,760 --> 00:16:41,480 Speaker 2: we are back on the phone with her mother in 259 00:16:41,480 --> 00:16:45,240 Speaker 2: the pink hour between lunch and dinner rushes. Colleen leans 260 00:16:45,280 --> 00:16:48,000 Speaker 2: against the sliding glass door and jams the mini disc 261 00:16:48,120 --> 00:16:52,120 Speaker 2: to her ear. The connection is finicky. It bulks and 262 00:16:52,400 --> 00:16:56,320 Speaker 2: shuffles its hoofs. Do you Her mother's voice flickers in 263 00:16:56,360 --> 00:17:01,240 Speaker 2: and out a job. Her concerns keeps down the phone line. 264 00:17:01,800 --> 00:17:05,080 Speaker 2: No other question a moon mom could ask, really, no 265 00:17:05,200 --> 00:17:09,800 Speaker 2: other way to tell are you okay? Are you functioning? Lucky? 266 00:17:09,840 --> 00:17:12,119 Speaker 2: Colleen lives in a pleasure park town where things like 267 00:17:12,240 --> 00:17:15,439 Speaker 2: jobs still exist, or else? How would she explain to 268 00:17:15,520 --> 00:17:19,320 Speaker 2: the Mama, jobs mean goose egg. Here, we've moved on. 269 00:17:20,119 --> 00:17:22,919 Speaker 2: I'm a waitress, mom, like I tell you every time 270 00:17:23,480 --> 00:17:26,760 Speaker 2: I bring people food. That faint noise might be her 271 00:17:26,800 --> 00:17:30,720 Speaker 2: mother ohing, or might be the sound of two hundred 272 00:17:30,720 --> 00:17:35,120 Speaker 2: thousand miles. Colleen waits for more news without expecting any. 273 00:17:35,720 --> 00:17:41,200 Speaker 2: Machines don't rearrange their parts often, Oh, her mother's thin exclamation. 274 00:17:41,960 --> 00:17:46,600 Speaker 2: The Sakaros mister and missus Sicaro live in the neighboring pod. 275 00:17:46,680 --> 00:17:50,199 Speaker 2: They're having a baby. Sharp pain is big chunks of 276 00:17:50,240 --> 00:17:53,440 Speaker 2: Colleen's chest A rode into her stomach until she takes 277 00:17:53,440 --> 00:17:57,320 Speaker 2: a quick, tight breath. Why does this news smart so bad? 278 00:17:57,760 --> 00:17:59,920 Speaker 2: Why does she wrench open the door and fling them 279 00:18:00,040 --> 00:18:03,840 Speaker 2: mini disk into the flower bed. Later, she'll apologize to 280 00:18:03,880 --> 00:18:07,720 Speaker 2: the moon mom, explain how the connection fritz out, And 281 00:18:07,760 --> 00:18:11,480 Speaker 2: she'll think of how lunarians see her today. Wonder if 282 00:18:11,520 --> 00:18:15,639 Speaker 2: she saw mom Pa again, would things be different? Probably? No, 283 00:18:16,000 --> 00:18:19,800 Speaker 2: course not, how could you? But maybe maybe there'd be 284 00:18:19,880 --> 00:18:22,520 Speaker 2: a little hitch pause between the moment of recognition and 285 00:18:22,560 --> 00:18:25,760 Speaker 2: the moment of hugging. Maybe that hitch would grow wider. 286 00:18:26,960 --> 00:18:29,280 Speaker 2: It would be easy to call the dark, breathless void 287 00:18:29,359 --> 00:18:32,680 Speaker 2: between them space, but Collein knows its way older than that, 288 00:18:33,160 --> 00:18:36,080 Speaker 2: and still no one's built a rocket that can cross it. 289 00:18:37,960 --> 00:18:41,119 Speaker 2: One evening, Colleen runs into a Betha on the boardwalk, 290 00:18:41,800 --> 00:18:44,760 Speaker 2: not like she's been avoiding her or anything, not exactly. 291 00:18:45,640 --> 00:18:48,399 Speaker 2: When she thinks of Abitha, there's an odd sensation in 292 00:18:48,440 --> 00:18:53,680 Speaker 2: her stomach. Not embarrassment that she's sure of, more like disappointment, 293 00:18:54,080 --> 00:18:57,320 Speaker 2: a little like grief. You talked so, big, new girl, 294 00:18:57,520 --> 00:19:00,280 Speaker 2: she wants to say, I thought you had answers. I 295 00:19:00,320 --> 00:19:02,960 Speaker 2: thought you could fix us like that hack doctor straightened 296 00:19:02,960 --> 00:19:07,479 Speaker 2: your legs. They stare at each other. Abetha licks her lips. 297 00:19:07,920 --> 00:19:10,520 Speaker 2: Colleen makes a motion with one hand and then stops. 298 00:19:10,920 --> 00:19:13,879 Speaker 2: Not sure where she's going, she shifts her eyes to 299 00:19:13,920 --> 00:19:16,880 Speaker 2: the people passing them, oggling them in the near dark. 300 00:19:17,640 --> 00:19:22,840 Speaker 2: Then she hears her name being called, Colleen Trespass, white 301 00:19:22,840 --> 00:19:25,639 Speaker 2: faced under his white paint, hurling up the beach like 302 00:19:25,640 --> 00:19:30,480 Speaker 2: a cannonball. Colleen, it's big sister, get her, gotta help me, 303 00:19:30,560 --> 00:19:33,840 Speaker 2: get her. The two of them rush across the beach, 304 00:19:34,400 --> 00:19:39,080 Speaker 2: now not two of them, three, Abetha runs two. Colleine 305 00:19:39,080 --> 00:19:42,639 Speaker 2: can feel her joints grind her muscles fray times like this. 306 00:19:43,160 --> 00:19:46,359 Speaker 2: She hates her body the most, this earth pull, this 307 00:19:46,440 --> 00:19:49,600 Speaker 2: aching flesh. How light we were on the moon, how 308 00:19:49,600 --> 00:19:54,200 Speaker 2: we could have bounded over miles. Tesla is walking into 309 00:19:54,200 --> 00:19:58,280 Speaker 2: the ocean. The water is up to her neck. Waves 310 00:19:58,359 --> 00:20:00,879 Speaker 2: rear up and come down over her head, and she 311 00:20:00,920 --> 00:20:05,320 Speaker 2: doesn't flinch, doesn't duck, just keeps heading out. It's almost 312 00:20:05,320 --> 00:20:08,720 Speaker 2: too dark to see her. Moon girl come back. They 313 00:20:08,800 --> 00:20:12,280 Speaker 2: scream through the sea breeze, hurl themselves into the ocean. 314 00:20:12,920 --> 00:20:14,879 Speaker 2: At first the water is something to fight, but then 315 00:20:14,880 --> 00:20:17,400 Speaker 2: it gets deep enough that they can give themselves over 316 00:20:17,480 --> 00:20:21,280 Speaker 2: to it. They paddle to Tesla, surround her, tug on 317 00:20:21,320 --> 00:20:25,119 Speaker 2: her arms, and kiss her cheeks. Big sister, best friend? 318 00:20:25,520 --> 00:20:29,280 Speaker 2: Why would you leave us? The fuck you thinking that 319 00:20:29,400 --> 00:20:32,359 Speaker 2: first moment when they catch her, Tesla's eyes are dead, 320 00:20:32,800 --> 00:20:35,160 Speaker 2: but she sparks under their touch, and her mouth makes 321 00:20:35,160 --> 00:20:39,919 Speaker 2: a smile. I'm okay. Her lips shape the words, but 322 00:20:39,960 --> 00:20:44,720 Speaker 2: her voice is barely a sound. I'm I'm okay. Her 323 00:20:44,720 --> 00:20:48,320 Speaker 2: eyes snag on something beyond all of them, Colleen and 324 00:20:48,359 --> 00:20:53,359 Speaker 2: trespass Nabitha. They turn and follow her gaze. A full 325 00:20:53,400 --> 00:20:57,679 Speaker 2: moon is rising. He catches them off guard in the ocean. 326 00:20:57,720 --> 00:21:03,280 Speaker 2: They fall silent still. Look at them now, only their 327 00:21:03,280 --> 00:21:06,800 Speaker 2: heads bobbing above the water, four dark bumps breaking up 328 00:21:06,840 --> 00:21:10,280 Speaker 2: the white shine of the moon reflection, cradled by the 329 00:21:10,320 --> 00:21:13,320 Speaker 2: warm ocean. They don't have to be moon kids. They 330 00:21:13,320 --> 00:21:17,200 Speaker 2: could be round and embracing as Luna herself. They could 331 00:21:17,200 --> 00:21:19,920 Speaker 2: be slender as the breeze that licks the sea surface. 332 00:21:20,680 --> 00:21:23,879 Speaker 2: They could be regular Earth boys and girls loving the 333 00:21:23,880 --> 00:21:27,400 Speaker 2: feel of water on skin. They could be sea nymphs. 334 00:21:28,000 --> 00:21:32,199 Speaker 2: They could be four seals. Aabetha's face is hard and set. 335 00:21:32,680 --> 00:21:36,520 Speaker 2: She stares at the moon like a challenge, trespasses quiet, 336 00:21:36,840 --> 00:21:39,600 Speaker 2: his arms winging back and forth just under the surface. 337 00:21:40,480 --> 00:21:42,800 Speaker 2: Paint runs down his face and makes a pool of 338 00:21:42,840 --> 00:21:47,240 Speaker 2: smoke around his throat. Tesla lets out one gasping sob 339 00:21:47,320 --> 00:21:50,760 Speaker 2: and chokes on sea water. Colleen reaches through the black 340 00:21:50,800 --> 00:21:53,919 Speaker 2: water and finds her hand. They clutch each other in 341 00:21:53,960 --> 00:21:58,160 Speaker 2: the darkness. Colleen leans her head back so water creeps 342 00:21:58,200 --> 00:22:02,040 Speaker 2: cool on her scalp around her and beneath her, the 343 00:22:02,080 --> 00:22:07,600 Speaker 2: ocean pushes with hands like continents, push drag. With her 344 00:22:07,640 --> 00:22:11,159 Speaker 2: head tilted, her vision is filled up with moon, white 345 00:22:11,160 --> 00:22:13,560 Speaker 2: and brilliant and huge, as the sound of blood in 346 00:22:13,600 --> 00:22:17,159 Speaker 2: her brain huge as the pull of home. Can she 347 00:22:17,280 --> 00:22:20,480 Speaker 2: see the cities on the surface, the pale tunnels that 348 00:22:20,600 --> 00:22:23,600 Speaker 2: hash through the face of Luna. Can she see her 349 00:22:23,640 --> 00:22:28,240 Speaker 2: parents sitting down to dinner, bloodshot, sun starved, their fingers 350 00:22:28,240 --> 00:22:32,040 Speaker 2: still tapping out equations. Could she notice the extra place 351 00:22:32,040 --> 00:22:34,840 Speaker 2: setting at the table, but when they look at but 352 00:22:34,960 --> 00:22:39,360 Speaker 2: never touch. Oh, come on, now, girl doesn't see any 353 00:22:39,400 --> 00:22:42,600 Speaker 2: of that, doesn't even imagine it. This time of night, 354 00:22:42,680 --> 00:22:45,480 Speaker 2: with water lapping at her cranium, the moon is no 355 00:22:45,560 --> 00:22:49,560 Speaker 2: longer a place. The moon just is bigger than everything, 356 00:22:50,080 --> 00:22:52,840 Speaker 2: her light flowing out and lifting them up until they 357 00:22:52,880 --> 00:22:56,800 Speaker 2: are no longer even floating. Their bodies have vanished. They 358 00:22:56,840 --> 00:23:01,240 Speaker 2: are nothing but light. If we cried out loud, Colleen thinks, 359 00:23:01,920 --> 00:23:04,600 Speaker 2: maybe the moon would turn her eyes back down to us. 360 00:23:05,200 --> 00:23:07,680 Speaker 2: If we beat ourselves against the earth, if we let 361 00:23:07,680 --> 00:23:11,200 Speaker 2: our bones break and our flesh split, maybe that would 362 00:23:11,280 --> 00:23:15,360 Speaker 2: jar her memory, her exiled children. Maybe she would fall 363 00:23:15,400 --> 00:23:18,960 Speaker 2: in love with us again. It is not enough, this warm, 364 00:23:19,040 --> 00:23:24,359 Speaker 2: dry dust, these rocking waters. We will not last very long. Luna. 365 00:23:24,840 --> 00:23:29,159 Speaker 2: Please hold us, let us go, Let the squalls in 366 00:23:29,200 --> 00:23:33,360 Speaker 2: our minds grow quiet, Let our bodies gentle, Let all 367 00:23:33,400 --> 00:23:38,639 Speaker 2: the knots suntie Dun dun dun. That's the end of 368 00:23:38,640 --> 00:23:41,679 Speaker 2: the story. Thank you for listening along to Moonkids by 369 00:23:41,680 --> 00:23:46,119 Speaker 2: Abby Meotis And oh what did I think about this 370 00:23:46,240 --> 00:23:48,800 Speaker 2: time when I was reading it. I'm interested in the 371 00:23:48,840 --> 00:23:51,719 Speaker 2: seal thing, the symbolism of the seal. I didn't get 372 00:23:51,760 --> 00:23:55,640 Speaker 2: it on the first read, but like, basically they're constantly 373 00:23:55,680 --> 00:23:58,760 Speaker 2: being compared to seals, and there's like a thing about 374 00:23:58,760 --> 00:24:01,400 Speaker 2: a selkie skin, and so it's got this like selky 375 00:24:01,560 --> 00:24:04,560 Speaker 2: vibe about like people pulled out of the ocean and 376 00:24:04,600 --> 00:24:07,280 Speaker 2: living on the land in order to be part of society, 377 00:24:08,000 --> 00:24:11,679 Speaker 2: and it's got all this stuff about well, I don't know. 378 00:24:11,880 --> 00:24:15,440 Speaker 2: You just listened to it and you've got ideas too. Hazel, 379 00:24:15,560 --> 00:24:18,000 Speaker 2: who helps me with the scripts, has this to say 380 00:24:18,000 --> 00:24:22,840 Speaker 2: about it. Less on the emotion side, big languishing, so 381 00:24:22,840 --> 00:24:26,640 Speaker 2: so juicy, and more on the craft side. I love, love, 382 00:24:26,800 --> 00:24:30,600 Speaker 2: love Abby's prose. It is so stylized and fragmented in 383 00:24:30,640 --> 00:24:33,679 Speaker 2: a really evocative way. Abby will use a verb but 384 00:24:33,720 --> 00:24:37,000 Speaker 2: not conjugated or with a pronoun attached, and it feels 385 00:24:37,000 --> 00:24:41,800 Speaker 2: both poetic and exacting, efficient and scientific, like lunar society. 386 00:24:42,600 --> 00:24:44,840 Speaker 2: She uses a lot of sentence fragments that feel like 387 00:24:44,880 --> 00:24:48,040 Speaker 2: parts of a life pieced back together like a cozy quilt. 388 00:24:48,800 --> 00:24:51,160 Speaker 2: It's hard to convey this over audio, but a lot 389 00:24:51,160 --> 00:24:54,080 Speaker 2: of what characters say moves in and out of quotation marks. 390 00:24:54,600 --> 00:24:57,040 Speaker 2: It gives this effect where only some of what's discussed 391 00:24:57,080 --> 00:24:59,919 Speaker 2: happens out loud, or like a lot of the die 392 00:25:00,000 --> 00:25:03,520 Speaker 2: dialogue is imagined, or a character's inner monologue. It makes 393 00:25:03,560 --> 00:25:06,720 Speaker 2: a really interesting read. I would absolutely recommend checking out 394 00:25:06,720 --> 00:25:09,440 Speaker 2: the full text sometime if you're excited about that kind 395 00:25:09,440 --> 00:25:14,400 Speaker 2: of experimentation. And then, as for what Abby herself says 396 00:25:14,400 --> 00:25:18,480 Speaker 2: about this story when we asked her quote, I tend 397 00:25:18,560 --> 00:25:20,760 Speaker 2: to collect threads of thought until I have enough to 398 00:25:20,800 --> 00:25:24,240 Speaker 2: twist together into a story. The threads for this piece 399 00:25:24,280 --> 00:25:28,359 Speaker 2: included reading John Kessel's stories for men and thinking about 400 00:25:28,359 --> 00:25:31,920 Speaker 2: the effect of gravity differentials and bodies. Working in a 401 00:25:31,960 --> 00:25:36,160 Speaker 2: middle school and navigating the harms inflicted by standardized testing systems, 402 00:25:37,040 --> 00:25:40,399 Speaker 2: conversations with my friends from other countries, thinking about what 403 00:25:40,440 --> 00:25:42,280 Speaker 2: it means when your home is a place for which 404 00:25:42,320 --> 00:25:47,240 Speaker 2: other people have their own, deeply ingrained cultural associations, fascination 405 00:25:47,400 --> 00:25:50,399 Speaker 2: with beach towns and tourist economies in the off season. 406 00:25:51,400 --> 00:25:55,639 Speaker 2: This is what emerged from those threads. But who is 407 00:25:55,680 --> 00:25:58,639 Speaker 2: Abby Meotis? You might be asking, because you forgot the 408 00:25:58,640 --> 00:26:02,120 Speaker 2: bio that we read at the end of the last episode. Well, 409 00:26:02,119 --> 00:26:05,600 Speaker 2: I'll remind you. Abby may Otis is a writer, a 410 00:26:05,640 --> 00:26:09,320 Speaker 2: teaching artist, a storyteller, and a fire starter. Raised in 411 00:26:09,359 --> 00:26:12,680 Speaker 2: the woods of North Carolina, she loves people and art 412 00:26:12,720 --> 00:26:16,720 Speaker 2: forms on the margins. Her story collection, Alien Virus Love 413 00:26:16,800 --> 00:26:19,960 Speaker 2: Disaster from Small Beer Press was named one of the 414 00:26:19,960 --> 00:26:22,440 Speaker 2: best science fiction books of the Year by The Washington 415 00:26:22,480 --> 00:26:25,679 Speaker 2: Post and was a finalist for the twenty eighteen Philip K. 416 00:26:25,840 --> 00:26:29,280 Speaker 2: Dick Award. She studied creative writing at the Missionar Center 417 00:26:29,320 --> 00:26:34,400 Speaker 2: for Writers, Oberlin College and the Clarion West Writers Workshop. Currently, 418 00:26:34,480 --> 00:26:36,880 Speaker 2: she is making a living as an artist in residence 419 00:26:36,920 --> 00:26:40,199 Speaker 2: at the University of Pennsylvania. She lives in West Philly, 420 00:26:40,280 --> 00:26:42,560 Speaker 2: where her favorite days are spent walking her dogs in 421 00:26:42,600 --> 00:26:46,400 Speaker 2: the woods, overstaining her welcome in coffee shops, chipping away 422 00:26:46,440 --> 00:26:50,160 Speaker 2: at a novel, and dismantling the state. We did ask 423 00:26:50,200 --> 00:26:52,000 Speaker 2: her how our audience can stay up to date on 424 00:26:52,040 --> 00:26:55,120 Speaker 2: her releases, and she said, quote, I don't have any 425 00:26:55,119 --> 00:26:59,840 Speaker 2: social media. Please don't follow me anywhere, which is wise, brave, 426 00:27:00,280 --> 00:27:04,840 Speaker 2: and iconic and I'm officially jealous. That's it for this week. 427 00:27:05,119 --> 00:27:06,800 Speaker 2: We will see you next week for more short fiction. 428 00:27:07,280 --> 00:27:09,480 Speaker 2: My name is Margaret Kiljoy. I have a substack Margaret 429 00:27:09,520 --> 00:27:12,199 Speaker 2: Kiljoy dot substack dot com. You can find my thoughts 430 00:27:12,240 --> 00:27:17,680 Speaker 2: pretty much every week, and well take care of each other. 431 00:27:18,000 --> 00:27:22,520 Speaker 2: Fuck Ice Free, Palestine, Up theepunks, Up the moon kids. 432 00:27:23,520 --> 00:27:24,399 Speaker 2: See y'all next week. 433 00:27:27,960 --> 00:27:30,440 Speaker 1: It Could Happen here as a production of cool Zone Media. 434 00:27:30,560 --> 00:27:33,199 Speaker 1: For more podcasts from cool Zone Media, visit our website 435 00:27:33,280 --> 00:27:36,400 Speaker 1: coolzonemedia dot com or check us out on the iHeartRadio app, 436 00:27:36,400 --> 00:27:39,760 Speaker 1: Apple Podcasts, or wherever you listen to podcasts. You can 437 00:27:39,800 --> 00:27:42,439 Speaker 1: find sources for It Could Happen Here, updated monthly at 438 00:27:42,520 --> 00:27:45,760 Speaker 1: coolzonemedia dot com slash sources. Thanks for listening.