WEBVTT - CZM Book Club: Everything that Isn't Winter, by Margaret Killjoy, Part Two

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<v Speaker 1>Colson Media book Club, book Club, book Club, book Club,

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<v Speaker 1>book Club, book Club. I wonder how long I can

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<v Speaker 1>do that for book Club book Club. No, I should

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<v Speaker 1>probably stop do the rest of the introduction. Hello, and

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<v Speaker 1>welcome to Cools in the Media. Book Club, the only

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<v Speaker 1>book club where you don't have to do the reading

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<v Speaker 1>because I do it for you. I'm your host, Margaret Kiljoy.

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<v Speaker 1>And this week and today, this very day, the reading

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<v Speaker 1>that I'm doing is also writing that I did. This

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<v Speaker 1>is the second half of a story that I wrote

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<v Speaker 1>in twenty fifteen called Everything That Isn't Winter And if

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<v Speaker 1>you didn't listen to part one well with so much love?

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<v Speaker 1>What the fuck are you doing here? How does your

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<v Speaker 1>brain work? How do you tune into the second half

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<v Speaker 1>of a short story and think this is where I'm

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<v Speaker 1>going to come in on? I just don't understand you.

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<v Speaker 1>More power to you. This is that weird week between

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<v Speaker 1>Christmas in New Year's that feels like the last lap

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<v Speaker 1>in Mario, like not the third and final lap, but

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<v Speaker 1>the one that you drive afterward on autopilot while your

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<v Speaker 1>race stats play in the foreground, Or at least that's

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<v Speaker 1>sort of how it always feels here. It's a bizarre time.

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<v Speaker 1>But we're continuing the cozy energy of early winter with

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<v Speaker 1>a quote and I'm quoting Hazel here a surprisingly cozy

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<v Speaker 1>for how much gunfire is in it end quote story.

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<v Speaker 1>So hopefully this hits your post holiday malaise with a

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<v Speaker 1>fresh burst of energy, the kind of energy that will

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<v Speaker 1>make you shoot people. And to wait, I don't want

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<v Speaker 1>to spoil anything. Where we left off, we had our

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<v Speaker 1>main character, Aiden, who runs point on tactical for a

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<v Speaker 1>tea growing commune called The in Between during a belltaine celebration,

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<v Speaker 1>and yes, we know that that's Mayda, but stick with

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<v Speaker 1>us for the holiday theming, some of the collective's tea

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<v Speaker 1>fields are torched by raiders, and we follow Aiden and Bartley,

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<v Speaker 1>a fellow tracker and a tactical point, as they hunt

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<v Speaker 1>down and kill a speck. Aiden returns to a strained

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<v Speaker 1>relationship with their boyfriend, and we got some devastating dialogue

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<v Speaker 1>about the cracks that exist between the two of them.

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<v Speaker 1>Now we pick back up with Everything That Isn't Winter

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<v Speaker 1>by Margaret Kildren. There's a certain kind of peace on

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<v Speaker 1>a farm, and the tea leaves were emeralds in the moonlight,

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<v Speaker 1>the night birds sang in the forest. The trees stood

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<v Speaker 1>like crows on the horizon. There's a certain kind of

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<v Speaker 1>peace and holding a rifle as well. It shares the

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<v Speaker 1>same simplicity, the same honesty with that rifle. In those fields,

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<v Speaker 1>my intentions were bare. We worked the earth, We defended

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<v Speaker 1>the fruits of our labor. I walked our eastern perimeter

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<v Speaker 1>through rows of tea and through the burned scar where

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<v Speaker 1>so much of our tea had been ahead at the gatehouse,

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<v Speaker 1>electric lights spit out a flood of across the tracks

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<v Speaker 1>and into the hills. We used red to save our

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<v Speaker 1>night vision. We used lights at all because they made

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<v Speaker 1>a good distraction, made any potential attacker believe that our

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<v Speaker 1>attention was focused on the railroad. I'd learned every bit

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<v Speaker 1>I knew about tactics a hard way. There were more

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<v Speaker 1>bodies buried in our fields than there were people living

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<v Speaker 1>in the lodge. But that night, while I clutched a

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<v Speaker 1>radio in one hand and waited to hear from Bartley,

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<v Speaker 1>they didn't come for us from the trees. They didn't

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<v Speaker 1>come for us from the tracks, or over the Green River,

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<v Speaker 1>or from the mountains or the roads. They came for

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<v Speaker 1>us with artillery It took three seconds for two shots

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<v Speaker 1>to destroy the lodge. I saw them, those meteors as

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<v Speaker 1>they arked through the sky on a low trajectory and

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<v Speaker 1>reduced my home to rubble. They were tracer shells marked

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<v Speaker 1>to help their gun or aim, and they burned phosphorus

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<v Speaker 1>through the sky. They'd come from the east. They'd come

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<v Speaker 1>from Stampede Pass. I'd leveled trees older than my grandparents

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<v Speaker 1>to help build the lodge. I'd pedaled rebar eighty kilometers

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<v Speaker 1>up the tracks from the ruins of Tacoma to reinforce

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<v Speaker 1>the stone and mortar construction. And I'd killed two people,

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<v Speaker 1>a woman and a man who tried to rob me

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<v Speaker 1>on the way. I like to think I knew the

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<v Speaker 1>difference between the evil and the desperate, and those two

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<v Speaker 1>had just been desperate. I'd left their bones in the forest.

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<v Speaker 1>Three seconds, two shots, and all our work was gone.

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<v Speaker 1>With adrenaline in me, I don't consciously process sound or

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<v Speaker 1>scent or touch. Everything is visual, Everything is slow motion.

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<v Speaker 1>I ran through the green fields towards the shattered lodge

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<v Speaker 1>as people streamed out. People were shouting. I might have

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<v Speaker 1>been shouting. I saw Khalil walk across the road carrying

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<v Speaker 1>someone toward the bomb shelter. That man existed to help people,

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<v Speaker 1>to carry people to nurse. Green shoots up out of

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<v Speaker 1>the soil and into the light. I existed for other purposes.

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<v Speaker 1>I gave up on returning to the lodge. They could

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<v Speaker 1>rebuild without me, and Khalil was alive, and what good

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<v Speaker 1>would I do? And I was their guard, and I'd failed,

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<v Speaker 1>and I couldn't face Khalil, and I ran for the gate.

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<v Speaker 1>I set a rail cart onto the tracks, settled into

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<v Speaker 1>the saddle, put my feet on the pedals, then gave

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<v Speaker 1>a last look the lodge. Khalil was watching me, hands

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<v Speaker 1>on his hips, his chest heaved, He turned his head,

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<v Speaker 1>and he walked away. His gait told me more than

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<v Speaker 1>any words ever had. It was the gait of a

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<v Speaker 1>man who'd given up. I peddled east with my rifle

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<v Speaker 1>held out cross my lap. I pedaled until the adrenaline

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<v Speaker 1>cleared and the evening's fog grows thicker and thicker, and

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<v Speaker 1>I had the chance to realize what a mess I'd

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<v Speaker 1>just thrown myself into. A loone which was better than

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<v Speaker 1>acknowledging the mess from which I just fled. It didn't

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<v Speaker 1>make sense to destroy the lodge. It didn't make sense

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<v Speaker 1>to destroy the fields. It made sense to capture our holdings.

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<v Speaker 1>Whomever I was running off to try to shoot, I

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<v Speaker 1>didn't understand them. If you know your enemy, and you

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<v Speaker 1>know yourself, you need not fear one hundred battles. If

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<v Speaker 1>you know yourself and not your enemy, you will lose

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<v Speaker 1>as often as you win. If you know neither yourself

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<v Speaker 1>nor your enemy, you will never know victory. I'd pedaled

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<v Speaker 1>those tracks hundreds of times. The Cascade Range was my home.

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<v Speaker 1>I had grown up in its shadow. But fear creeps

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<v Speaker 1>into your system and renders the familiar into something alien.

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<v Speaker 1>The fog was milk thick, as thick as it had

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<v Speaker 1>ever been. My eyes tracked movement. I knew better than

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<v Speaker 1>to register the shifting of moonlight through wind blown branches,

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<v Speaker 1>the glint of light on the steel of the rails.

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<v Speaker 1>I passed a rusted junction box, still painted with pre

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<v Speaker 1>collapse graffiti, which meant the tunnel was only a few

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<v Speaker 1>hundred meters out. I stopped peddling, set the brakes of

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<v Speaker 1>the cart wouldn't roll back downhill, then dismounted as quietly

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<v Speaker 1>as I could. It's hard to disguise. The sounds of

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<v Speaker 1>heels on gravel. I heard my own, but there was

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<v Speaker 1>another footfall fainter right behind me. A hand clamped down

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<v Speaker 1>on my shoulder. I whirled, went for the knife on

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<v Speaker 1>my belt. Bartley she had one finger to her lips,

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<v Speaker 1>her eyes betraying sleepless exhaustion. We scrambled up the embankment,

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<v Speaker 1>pausing where we could just see the tracks at the

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<v Speaker 1>edge of our vision. My hands were on the bark

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<v Speaker 1>of a poplar. Its scent was in my head, and

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<v Speaker 1>I was grounded there in the tunnel. She said, she

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<v Speaker 1>was murmuring low into my ear. They've got military ordinance,

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<v Speaker 1>two big guns on two railcars, plus a whole train

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<v Speaker 1>of weaponry stretching into the tunnel. Who are they, don't know?

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<v Speaker 1>I've seen about twenty of them. Most of them are

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<v Speaker 1>camped inside the tunnel alongside the ordinance. Looks like they've

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<v Speaker 1>been there a few days. Uniforms, I asked, Nope, motive,

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<v Speaker 1>no idea. Bartley said they fired a couple artillery shells.

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<v Speaker 1>What they hit, They took out the lodge. I'd never

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<v Speaker 1>known Bartley to wear her heart on her sleeve, but

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<v Speaker 1>she took a breath at that, then another casualties. She asked,

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<v Speaker 1>I didn't stop to count. We should kill them all.

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<v Speaker 1>She wasn't judging their character, she was addressing a strategic concern.

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<v Speaker 1>How I mind the tunnel a couple years back? What

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<v Speaker 1>I asked that loud, switching for a moment into whisper

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<v Speaker 1>instead of murmur. I didn't tell anyone because I thought

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<v Speaker 1>people might get mad, and I figured our general Assembly

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<v Speaker 1>wouldn't go for it. How close do you have to

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<v Speaker 1>get to set it off? I asked? Close? Bartley said,

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<v Speaker 1>real close? Ten feet inside the front of the tunnel

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<v Speaker 1>against the south side wall. There's a rotted hunk of

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<v Speaker 1>plywood behind it, a cheap old breaker box. I put in,

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<v Speaker 1>switch the first three in the last three breakers and

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<v Speaker 1>then we've got two minutes to get clear. Well, that's

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<v Speaker 1>set off the ordinance on the train. Probably not. How

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<v Speaker 1>do we get there? I've got an idea. I'm not

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<v Speaker 1>gonna like it, am I, I asked, nope? But do

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<v Speaker 1>you know what you will like? You will like the

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<v Speaker 1>six savings on these products and services? What a deal?

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<v Speaker 1>What a deal? And reback? I'm here to negotiate our surrender.

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<v Speaker 1>The words were foreign in my throat and hung strangely

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<v Speaker 1>in the air. They weren't my words. They weren't words

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<v Speaker 1>I really knew how to say. But I said them

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<v Speaker 1>loud and attracted the ire of a number of armed

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<v Speaker 1>women and men, Women and men I hoped wouldn't object

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<v Speaker 1>too immediately and too violently to the rifle I still

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<v Speaker 1>slung across my back. The fog was thinner at the

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<v Speaker 1>base of the tunnel, and it calmed me down to

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<v Speaker 1>see the silhouette spires of the trees and the faint

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<v Speaker 1>glow of stars above me. Two flatbed railcars extended out

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<v Speaker 1>from the tunnel, each with an old world gun, larger

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<v Speaker 1>than some houses. Inside the tunnel, a string of box

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<v Speaker 1>cars stretched farther than I could see. A half dozen

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<v Speaker 1>people approached me, no older than the kid I'd shot

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<v Speaker 1>on the cliff side. I like to think I knew

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<v Speaker 1>the difference between the evil and the desperate, And these

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<v Speaker 1>people weren't desperate, not on the face of things. Each

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<v Speaker 1>had a rifle trained on me, Each watched me with

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<v Speaker 1>some mixture of indifference and malice. Evil isn't something we

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<v Speaker 1>do to one another. It's the way in which we

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<v Speaker 1>do it. It's why we do it. There were two

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<v Speaker 1>clear authorities, a man about ten years my senior with

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<v Speaker 1>gray flecked into his red hair, and a woman with

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<v Speaker 1>at least twenty years on him. The two conversed briefly,

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<v Speaker 1>and the man approached General Samuel john He said he

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<v Speaker 1>didn't offer his hand, Aden Jackson. I said, I didn't

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<v Speaker 1>offer my hand. Our terms are simple, the general said.

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<v Speaker 1>Anyone who leaves between now and noon tomorrow will not

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<v Speaker 1>be hunted down and shot. Who are you, I asked,

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<v Speaker 1>General of what army? The new Republic of Washington? He said,

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<v Speaker 1>another warlord. What's your claim on our land? I asked.

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<v Speaker 1>I knew his answer before he said it. I grew

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<v Speaker 1>more confident that I knew him, that I could outwit

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<v Speaker 1>or outshoot him. Small holdings like yours and the rest

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<v Speaker 1>of the New World are a relic of an era

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<v Speaker 1>we aim to put behind us. He said on script,

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<v Speaker 1>Washington has suffered too long without central authority. Mind, people,

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<v Speaker 1>is fun. It's kind of dangerous, how fun it is.

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<v Speaker 1>You're right, I said. We will drive this train to

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<v Speaker 1>the end of the line, laying waste to everything in

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<v Speaker 1>our path, and raise forth our savior from the coastal waters.

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<v Speaker 1>That was a pretty different script. We'll raise new cities,

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<v Speaker 1>the general said, his eyes rolled back. He held his

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<v Speaker 1>palms face up in front of him, pure cities built

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<v Speaker 1>of light and manna. And we will live in his

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<v Speaker 1>grace until the zombies. The older woman added, until the

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<v Speaker 1>zombies come and devour those of us who remain in

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<v Speaker 1>the cities. I looked around from bandit to band and

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<v Speaker 1>grins were painted on every face. You're screwing with me.

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<v Speaker 1>Of course, we're screwing with you, the general said. We're

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<v Speaker 1>not on some moral or religious quest. We've got artillery

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<v Speaker 1>and we want the pass so we can tax caravans,

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<v Speaker 1>and if you try to stop us, we'll kill you.

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<v Speaker 1>That's the world, now, that's always been the world. It's

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<v Speaker 1>a good world for people like me and mine, and

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<v Speaker 1>that's the only metric i'd judge by. We are going

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<v Speaker 1>to just tax you, you know, the woman said. A

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<v Speaker 1>little bit of fire, a little show of force, and

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<v Speaker 1>then we tax you. But I heard you shoot my grandson.

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<v Speaker 1>All eyes and guns were on me, which I wanted.

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<v Speaker 1>With a certain, very limited understanding of the word want,

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<v Speaker 1>I'd lwered them away from the mouth of the tunnel

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<v Speaker 1>behind the trumped up highwaymen. In the thin fog, Bartley

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<v Speaker 1>Lizard crawled toward the breaker box. I didn't feel like

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<v Speaker 1>lying anymore. You'll get yours, I said. There have always

0:13:57.040 --> 0:13:59.880
<v Speaker 1>been people who want power over others. There have always

0:13:59.880 --> 0:14:02.760
<v Speaker 1>been people who don't. The whole of our history is

0:14:02.760 --> 0:14:05.640
<v Speaker 1>the history of people like you killing people like me,

0:14:06.280 --> 0:14:09.640
<v Speaker 1>of people like me killing people like you. You'll live

0:14:09.679 --> 0:14:14.320
<v Speaker 1>a miserable shit life, distrustful and afraid, and you'll get yours.

0:14:15.040 --> 0:14:16.720
<v Speaker 1>I'll get mine in the end, the same as you.

0:14:16.920 --> 0:14:19.479
<v Speaker 1>But I'll have lived a life in a society of equals,

0:14:19.760 --> 0:14:25.160
<v Speaker 1>among people I love. I'll have loved them. Hey. One

0:14:25.200 --> 0:14:27.200
<v Speaker 1>of the bandits, a young man, turned in time to

0:14:27.240 --> 0:14:30.680
<v Speaker 1>see Bartley crawling into the tunnel. He raised his rifle

0:14:30.800 --> 0:14:34.440
<v Speaker 1>and fired at my friend. I turned and ran uphill,

0:14:34.560 --> 0:14:37.960
<v Speaker 1>perpendicular to the mouth of the tunnel. Always run uphill.

0:14:38.000 --> 0:14:41.760
<v Speaker 1>People don't like chasing uphill. I made it behind a

0:14:41.800 --> 0:14:45.280
<v Speaker 1>fixed stump twenty meters up the embankment, and bullets lodged

0:14:45.280 --> 0:14:49.240
<v Speaker 1>into the decades dead tree flesh. I unslung and unsafetied

0:14:49.280 --> 0:14:53.560
<v Speaker 1>my rifle, returning fire. Bartley made it to cover herself

0:14:53.640 --> 0:14:56.240
<v Speaker 1>on the far side of the train from the bandits.

0:14:56.960 --> 0:14:59.640
<v Speaker 1>They could keep me pinned down and outflank me. Put

0:14:59.640 --> 0:15:02.240
<v Speaker 1>a bullet than me, then turned their attention to Bartley.

0:15:03.080 --> 0:15:06.680
<v Speaker 1>I had two spare magazines, one friend, and no hope

0:15:06.680 --> 0:15:11.600
<v Speaker 1>for backup. I had no hope at all. I shouldn't

0:15:11.640 --> 0:15:15.160
<v Speaker 1>have been cruel to Khalil. That man had left his family,

0:15:15.360 --> 0:15:18.720
<v Speaker 1>left the safety and stability of Bainbridge Island to follow

0:15:18.760 --> 0:15:20.520
<v Speaker 1>me into the mountains and to the edge of the

0:15:20.560 --> 0:15:26.040
<v Speaker 1>new world. He'd followed his dreams. We'd met in the

0:15:26.080 --> 0:15:30.120
<v Speaker 1>winter every winter since the first one. We'd walked out

0:15:30.160 --> 0:15:33.280
<v Speaker 1>along the Green River to its source. We made a

0:15:33.320 --> 0:15:37.240
<v Speaker 1>week of it, sixty kilometers round trip, and we'd held

0:15:37.280 --> 0:15:39.920
<v Speaker 1>hands and stared at the breath of the sky, and

0:15:40.080 --> 0:15:42.600
<v Speaker 1>camped in the snow and walked out along the ice.

0:15:43.640 --> 0:15:47.480
<v Speaker 1>We'd never get the chance again. He worried about me.

0:15:48.400 --> 0:15:51.840
<v Speaker 1>He was right to worry about me. I was about

0:15:51.880 --> 0:15:56.320
<v Speaker 1>to die. Bartley caught my attention, then started banging on

0:15:56.360 --> 0:15:58.440
<v Speaker 1>the steel of the car with the butt of a rifle.

0:15:59.120 --> 0:16:01.520
<v Speaker 1>This drew all eyes, and they were out from cover,

0:16:01.680 --> 0:16:05.360
<v Speaker 1>moving to flank me. I squatted up, aimed, and picked

0:16:05.400 --> 0:16:08.080
<v Speaker 1>off the general with a round through his cheek, his

0:16:08.160 --> 0:16:11.240
<v Speaker 1>head spun, his neck snapped, and his legs gave out.

0:16:12.080 --> 0:16:14.960
<v Speaker 1>The bandits turned away from Bartley, and she stood and

0:16:15.000 --> 0:16:17.840
<v Speaker 1>shot the older woman, the second in command perhaps or

0:16:17.880 --> 0:16:21.880
<v Speaker 1>maybe just the general's mother. Either way, she collapsed to

0:16:21.960 --> 0:16:25.320
<v Speaker 1>the hole in her sternum. A bullet grazed me, then

0:16:25.800 --> 0:16:30.040
<v Speaker 1>it burned across my shoulder. Blood welled up. Stay and

0:16:30.080 --> 0:16:32.920
<v Speaker 1>guard the train, one of the remaining women shouted into

0:16:32.920 --> 0:16:36.000
<v Speaker 1>the tunnel. The four remaining gunners were turned to cover.

0:16:36.440 --> 0:16:40.440
<v Speaker 1>Crouching by the wheels of the train, Bartley ran past

0:16:40.520 --> 0:16:43.880
<v Speaker 1>the train and forore the trees. She drew fire, but

0:16:44.000 --> 0:16:48.160
<v Speaker 1>not from every rifle. I took two quick, deep breaths,

0:16:48.520 --> 0:16:51.440
<v Speaker 1>let the oxygen fill me up, then rolled from cover.

0:16:52.200 --> 0:16:54.480
<v Speaker 1>I learned long ago not to let myself listen for

0:16:54.520 --> 0:16:58.720
<v Speaker 1>individual shots once I was committed. Fear is the antithesis

0:16:58.720 --> 0:17:03.000
<v Speaker 1>of action. I heard a scream, a woman's scream, and

0:17:03.040 --> 0:17:05.600
<v Speaker 1>I ran down the embankment into the dark of the tunnel.

0:17:06.400 --> 0:17:10.199
<v Speaker 1>There was the plywood behind it, the breaker box. It

0:17:10.280 --> 0:17:12.200
<v Speaker 1>was too dark to see, but I found the breakers

0:17:12.200 --> 0:17:14.480
<v Speaker 1>by touch and tried not to focus on the muzzle

0:17:14.520 --> 0:17:19.359
<v Speaker 1>flashes coming from outside and inside the tunnel. Alike. Bullets

0:17:19.400 --> 0:17:23.880
<v Speaker 1>are dangerous. I know that intimately, But most bullets aren't aimed,

0:17:23.960 --> 0:17:26.959
<v Speaker 1>not really, and unaimed bullets are like lightning in a field.

0:17:27.560 --> 0:17:30.679
<v Speaker 1>If you stay low, you'll survive more likely than not.

0:17:32.160 --> 0:17:35.600
<v Speaker 1>I hit the six breakers. Two of the gunners from

0:17:35.680 --> 0:17:38.800
<v Speaker 1>outside had crossed the tracks, and I saw their boots

0:17:38.800 --> 0:17:40.840
<v Speaker 1>as they worked their way down the other side of

0:17:40.840 --> 0:17:44.880
<v Speaker 1>the train. I'd be flanked. I rolled under the train

0:17:44.960 --> 0:17:48.440
<v Speaker 1>and took shots at the boots. Hit one was rewarded

0:17:48.440 --> 0:17:50.840
<v Speaker 1>with a man falling prone, and I shot him in

0:17:50.840 --> 0:17:55.120
<v Speaker 1>the temple. I crawled my forearms on the ties and gravel.

0:17:55.720 --> 0:17:59.000
<v Speaker 1>The wound in my shoulder was beginning to protest. I

0:17:59.040 --> 0:18:01.640
<v Speaker 1>shot another woman in the foot, and the two remaining

0:18:01.680 --> 0:18:07.840
<v Speaker 1>bandits outside fell without me firing. Bartley was alive. I

0:18:07.960 --> 0:18:10.000
<v Speaker 1>was almost to the mouth of the tunnel when the

0:18:10.119 --> 0:18:13.600
<v Speaker 1>charges blew, and only the behemoth of steel above me

0:18:13.760 --> 0:18:17.359
<v Speaker 1>saved me from the cascade of rock that followed. It

0:18:17.400 --> 0:18:19.320
<v Speaker 1>was no good to think about the lives that were

0:18:19.320 --> 0:18:23.560
<v Speaker 1>about to end. Suffocating in the darkness behind me, it

0:18:23.640 --> 0:18:26.359
<v Speaker 1>was no good to question whether or not I was evil.

0:18:27.280 --> 0:18:31.000
<v Speaker 1>In the dust and fog, I crawled forward toward the

0:18:31.040 --> 0:18:35.240
<v Speaker 1>faint moonlight. And do you know what else crawls towards

0:18:35.240 --> 0:18:39.800
<v Speaker 1>you through the firefight. It's the sonorous sounds of these

0:18:39.920 --> 0:18:46.800
<v Speaker 1>products and services at your whimsy, in your telephone on demand.

0:18:47.680 --> 0:19:06.320
<v Speaker 1>Here's the ads. Her back, Bartley had a hole in

0:19:06.359 --> 0:19:08.760
<v Speaker 1>her leg where muscle and fat and skin should have been,

0:19:09.359 --> 0:19:11.240
<v Speaker 1>and I got her onto the rail cart with a

0:19:11.240 --> 0:19:14.480
<v Speaker 1>tourniquet on her thigh. People say you can't use a

0:19:14.520 --> 0:19:16.760
<v Speaker 1>tourniquet for more than a few minutes, but I'd learned

0:19:16.800 --> 0:19:18.600
<v Speaker 1>the bloody way that you could get away with one

0:19:18.640 --> 0:19:22.440
<v Speaker 1>for longer if you needed. Hey, do me a favor,

0:19:22.520 --> 0:19:25.840
<v Speaker 1>she said, as I started to pedal. What's that? Don't

0:19:25.920 --> 0:19:29.920
<v Speaker 1>let me die? She said, that's all I asked, that's all,

0:19:29.920 --> 0:19:34.560
<v Speaker 1>don't let me die. You're not dying. Okay, I've got

0:19:34.600 --> 0:19:38.800
<v Speaker 1>another favor. What's that, Don't let me die? I really

0:19:38.840 --> 0:19:43.159
<v Speaker 1>don't want to die. I pedaled harder. It was downhill,

0:19:43.240 --> 0:19:45.720
<v Speaker 1>easy going, and we went in and out of fog banks,

0:19:45.720 --> 0:19:47.480
<v Speaker 1>and Bartley went in and out of being in a

0:19:47.520 --> 0:19:50.040
<v Speaker 1>mood to talk when in and out of looking like

0:19:50.119 --> 0:19:52.719
<v Speaker 1>she was going to make it. All I could think

0:19:52.760 --> 0:19:56.119
<v Speaker 1>about was Khalil, about how sure I'd been. I was

0:19:56.160 --> 0:19:58.800
<v Speaker 1>going to die about how sure i'd been. I'd never

0:19:58.840 --> 0:20:01.960
<v Speaker 1>see him again. It was a long half hour before

0:20:02.000 --> 0:20:06.000
<v Speaker 1>he reached the ruins of the in between. Three people

0:20:06.000 --> 0:20:08.640
<v Speaker 1>met us at the gate, including the woman who'd come

0:20:08.680 --> 0:20:11.720
<v Speaker 1>for the harvest, the one who danced with Khalil. She

0:20:11.800 --> 0:20:14.639
<v Speaker 1>helped me carry Bartlett to the makeshift infirmary set up

0:20:14.640 --> 0:20:17.919
<v Speaker 1>on the road. Any awkwardness between us lost to more

0:20:17.960 --> 0:20:23.040
<v Speaker 1>pressing matters. Doc told Bartley that she'd live. I gave

0:20:23.040 --> 0:20:28.280
<v Speaker 1>a quick report, and that report spread quickly. Khalil wasn't around,

0:20:28.320 --> 0:20:31.560
<v Speaker 1>and a fear came over me, a fear worse than firefights.

0:20:32.119 --> 0:20:34.119
<v Speaker 1>He was okay. I'd seen him escape the lodge. I

0:20:34.200 --> 0:20:36.879
<v Speaker 1>knew he was okay, but he wasn't okay with me.

0:20:38.680 --> 0:20:41.200
<v Speaker 1>I first met him when we'd both been visiting Tacoma

0:20:41.680 --> 0:20:44.359
<v Speaker 1>during the death days, when neither of us thought we'd

0:20:44.359 --> 0:20:47.520
<v Speaker 1>live to see twenty I'd loved him half my life,

0:20:48.160 --> 0:20:52.040
<v Speaker 1>the half that mattered. I went down the concrete steps

0:20:52.040 --> 0:20:54.879
<v Speaker 1>into the bomb shelter. It was full of people, and

0:20:54.920 --> 0:20:56.920
<v Speaker 1>they were hurt and scared, and they wanted to talk

0:20:56.960 --> 0:20:59.480
<v Speaker 1>to me. But they all had the distinct disadvantage of

0:20:59.520 --> 0:21:03.840
<v Speaker 1>not being Khalil. I went to the lodge, what remained

0:21:03.840 --> 0:21:06.800
<v Speaker 1>of the hall we'd built. There were people who weren't Khalil,

0:21:06.840 --> 0:21:10.320
<v Speaker 1>picking through the smoking rubble, shoring up the surviving walls,

0:21:10.359 --> 0:21:14.440
<v Speaker 1>digging for survivors and corpses. I went to the remnants

0:21:14.480 --> 0:21:16.639
<v Speaker 1>of the bridge that at once in the old world

0:21:16.720 --> 0:21:19.560
<v Speaker 1>crossed the Green River. But there was no one there

0:21:19.600 --> 0:21:22.320
<v Speaker 1>to kiss me in the shadows of the ruins. No

0:21:22.400 --> 0:21:24.560
<v Speaker 1>one waiting in the river with his hand on the

0:21:24.560 --> 0:21:28.200
<v Speaker 1>small of my back, no one singing in sweet low tones.

0:21:29.240 --> 0:21:32.359
<v Speaker 1>I thought about walking into the river anyway, until the

0:21:32.440 --> 0:21:35.920
<v Speaker 1>water took me. The river in spring is as cold

0:21:35.920 --> 0:21:40.120
<v Speaker 1>as snow. I went to the fields, and I found

0:21:40.200 --> 0:21:43.080
<v Speaker 1>him in the northeast corner, the corner we'd seen from

0:21:43.119 --> 0:21:47.639
<v Speaker 1>our poster bed. His hands swept across the leaves. He

0:21:47.720 --> 0:21:53.720
<v Speaker 1>sang wordless serenades to the tea. Khalil. He heard me

0:21:53.920 --> 0:21:56.800
<v Speaker 1>because his body tensed, and he paused his song. But

0:21:56.880 --> 0:22:02.919
<v Speaker 1>he didn't turn around. Khalil, I'm sorry for what. He

0:22:03.000 --> 0:22:05.359
<v Speaker 1>was far enough away that I could scarcely hear his voice.

0:22:06.400 --> 0:22:09.800
<v Speaker 1>For a lot of things. You do what you do.

0:22:11.200 --> 0:22:13.920
<v Speaker 1>A breeze came across the fields, from the river, whispering

0:22:13.960 --> 0:22:17.520
<v Speaker 1>against the tears of my cheeks. And I fought harder

0:22:17.560 --> 0:22:19.880
<v Speaker 1>to keep my voice level than I'd fought to stay

0:22:19.880 --> 0:22:25.040
<v Speaker 1>alive an hour prior. I don't want to just do

0:22:25.119 --> 0:22:29.359
<v Speaker 1>what I do, I said. He turned towards me, and

0:22:29.400 --> 0:22:32.480
<v Speaker 1>he was crying harder than I was. He always cried

0:22:32.560 --> 0:22:37.080
<v Speaker 1>harder than I did. It's okay if you worry about me.

0:22:37.200 --> 0:22:42.440
<v Speaker 1>I said. You ran away tonight, he said. He didn't

0:22:42.480 --> 0:22:45.560
<v Speaker 1>try to disguise the pain in his voice. You went alone.

0:22:46.720 --> 0:22:48.920
<v Speaker 1>Maybe it's too much for me that you're not here

0:22:48.960 --> 0:22:51.600
<v Speaker 1>when I need you, That you're never safe, that you

0:22:51.640 --> 0:22:55.960
<v Speaker 1>take stupid risks. I had the distance between us and

0:22:56.000 --> 0:22:59.280
<v Speaker 1>he was just out of arm's reach. I was going

0:22:59.320 --> 0:23:02.960
<v Speaker 1>to die tonight, I said. I sat down, hugged my knees.

0:23:03.800 --> 0:23:05.600
<v Speaker 1>I was going to die, and I was never going

0:23:05.640 --> 0:23:08.199
<v Speaker 1>to see you again. And now I've survived. But what

0:23:08.240 --> 0:23:11.560
<v Speaker 1>if I never get to be with you again. He

0:23:11.640 --> 0:23:15.760
<v Speaker 1>sat down across from me, mirrored my pose. You never

0:23:15.840 --> 0:23:19.879
<v Speaker 1>talked to me, he said, I know. Why don't you

0:23:19.960 --> 0:23:24.400
<v Speaker 1>talk to me? I'm afraid, I said, But I said

0:23:24.440 --> 0:23:29.960
<v Speaker 1>it too quiet. What I'm afraid? I said louder I'm afraid.

0:23:30.040 --> 0:23:32.720
<v Speaker 1>I'm afraid of you, and I'm afraid of us, and

0:23:32.760 --> 0:23:35.440
<v Speaker 1>I'm afraid of this new world we've built that one

0:23:35.520 --> 0:23:37.800
<v Speaker 1>day soon it'll be no place for me and everything

0:23:37.840 --> 0:23:40.840
<v Speaker 1>I've done and everything I am. I'm afraid of everything

0:23:40.920 --> 0:23:43.919
<v Speaker 1>that isn't winter, and I'm afraid of everything but dying.

0:23:45.280 --> 0:23:47.719
<v Speaker 1>My eyes were closed, and I couldn't see him, and

0:23:47.760 --> 0:23:49.919
<v Speaker 1>I couldn't hear him, and all I heard was my

0:23:50.040 --> 0:23:53.040
<v Speaker 1>heart beating out of sink. For a minute, at least,

0:23:53.800 --> 0:23:57.240
<v Speaker 1>it was all I heard. I didn't see him move,

0:23:57.400 --> 0:24:00.320
<v Speaker 1>but his arms wrapped all the way around me, my

0:24:00.400 --> 0:24:04.320
<v Speaker 1>knees and my back. He held me. I let myself go.

0:24:05.200 --> 0:24:07.200
<v Speaker 1>He kissed the top of my head, and I nuzzled

0:24:07.200 --> 0:24:10.440
<v Speaker 1>into his neck. You do what you do, he said,

0:24:10.960 --> 0:24:14.680
<v Speaker 1>and I love you for it. You love me, all stupid,

0:24:14.760 --> 0:24:19.840
<v Speaker 1>all covered in blood. I love you, he said. His

0:24:19.920 --> 0:24:22.399
<v Speaker 1>hand went into my hair, and he held me like

0:24:22.400 --> 0:24:25.000
<v Speaker 1>he used to, He held me like he wanted me.

0:24:25.840 --> 0:24:28.000
<v Speaker 1>I took him by the beard and pulled his face

0:24:28.040 --> 0:24:32.520
<v Speaker 1>against mine, felt his lips against mine, open mouthed, his

0:24:32.640 --> 0:24:36.400
<v Speaker 1>hands went to my hips. My fingers dug into his chest.

0:24:37.520 --> 0:24:40.760
<v Speaker 1>Smoke drifted up from the ruins of our home, and

0:24:40.880 --> 0:24:43.480
<v Speaker 1>love was something in my gut and it made me

0:24:43.560 --> 0:24:49.600
<v Speaker 1>want to live the end. That's the end of the story. Okay,

0:24:49.880 --> 0:24:54.480
<v Speaker 1>Hazel says, quote Hazel is a sap who just wants

0:24:54.520 --> 0:24:56.320
<v Speaker 1>to let go and find love at the end of

0:24:56.320 --> 0:24:58.639
<v Speaker 1>the world. It's very important that the listener know this

0:24:58.760 --> 0:25:01.359
<v Speaker 1>is written in all caps. That's what Hazel has to

0:25:01.359 --> 0:25:06.359
<v Speaker 1>say about it. And yeah, what do I have to

0:25:06.400 --> 0:25:08.119
<v Speaker 1>say about it. It's funny because a lot of the

0:25:08.119 --> 0:25:12.520
<v Speaker 1>stuff I want to say about it is structural. But

0:25:12.640 --> 0:25:15.040
<v Speaker 1>that's not like the vibe, right, Like the point of

0:25:15.080 --> 0:25:17.159
<v Speaker 1>the story isn't the structure of the story, you know,

0:25:17.400 --> 0:25:20.480
<v Speaker 1>no more than a the point of a home isn't

0:25:20.480 --> 0:25:23.760
<v Speaker 1>the fact that it's like built with two by four,

0:25:24.359 --> 0:25:26.639
<v Speaker 1>you know. But to talk about the two y fours

0:25:26.640 --> 0:25:31.440
<v Speaker 1>that built this house anyway, I guess I would say that. Okay.

0:25:31.480 --> 0:25:34.399
<v Speaker 1>So there's this thing called the trifail sequence and story writing.

0:25:34.520 --> 0:25:36.760
<v Speaker 1>If anyone wants a crash course on writing short stories

0:25:36.800 --> 0:25:40.200
<v Speaker 1>in the Western tradition, here you go the absolute bare

0:25:40.240 --> 0:25:43.280
<v Speaker 1>bones of a traditional Western story. It's not the three

0:25:43.320 --> 0:25:46.840
<v Speaker 1>acts structure, it's not the hero's journey. It is the

0:25:46.880 --> 0:25:50.439
<v Speaker 1>trifail sequence. A character has a problem, they try to

0:25:50.440 --> 0:25:53.640
<v Speaker 1>solve that problem as intelligently as they can, and they

0:25:53.640 --> 0:25:57.080
<v Speaker 1>fail and they make things worse. So then they try

0:25:57.119 --> 0:25:59.679
<v Speaker 1>to solve that problem again, and they fail and they

0:25:59.680 --> 0:26:02.040
<v Speaker 1>make the worse, and then they try again and then

0:26:02.080 --> 0:26:05.440
<v Speaker 1>they succeed. That is like the bare Bones story, right,

0:26:05.760 --> 0:26:07.320
<v Speaker 1>And if you want to get a little bit more

0:26:07.359 --> 0:26:10.720
<v Speaker 1>complicated and a little better, they have an external problem

0:26:10.840 --> 0:26:13.480
<v Speaker 1>and the reason that they're failing at solving their external

0:26:13.520 --> 0:26:16.560
<v Speaker 1>problem is because they haven't addressed their internal problem. And

0:26:16.600 --> 0:26:19.080
<v Speaker 1>it's only by solving their internal problem they're able to

0:26:19.119 --> 0:26:23.639
<v Speaker 1>solve their external problem. And that's the trifil sequence. And

0:26:23.680 --> 0:26:25.359
<v Speaker 1>the thing that I really wanted to do with this

0:26:25.440 --> 0:26:30.879
<v Speaker 1>story was have two interlocking trifail sequences where Aiden, our protagonist,

0:26:30.920 --> 0:26:33.960
<v Speaker 1>has two problems. There's the attack on the lodge and

0:26:34.080 --> 0:26:36.720
<v Speaker 1>the relationship with Khalil, And in a certain sense, you

0:26:36.720 --> 0:26:39.280
<v Speaker 1>could say it's the internal versus the external problem, but

0:26:39.400 --> 0:26:42.560
<v Speaker 1>actually in this case it's inverted Aiden, who doesn't have

0:26:42.600 --> 0:26:45.000
<v Speaker 1>a gender marker. There's no pronoun for them anywhere in

0:26:45.000 --> 0:26:46.960
<v Speaker 1>the story. That was another technical thing that I worked

0:26:47.000 --> 0:26:48.840
<v Speaker 1>really hard to do. They're not even avay them. They

0:26:49.000 --> 0:26:53.880
<v Speaker 1>just don't have a gender marker. But their internal problem,

0:26:54.119 --> 0:26:57.520
<v Speaker 1>this relationship can't be solved until they deal with the

0:26:57.520 --> 0:27:00.639
<v Speaker 1>external problem. And that was like the fun thing to do,

0:27:00.720 --> 0:27:03.359
<v Speaker 1>right they as a as a writer. But it was

0:27:03.359 --> 0:27:07.600
<v Speaker 1>also like, you know, that's not what the story is about.

0:27:08.200 --> 0:27:12.400
<v Speaker 1>The story is well love and how who we can

0:27:12.440 --> 0:27:18.200
<v Speaker 1>be and how we're more than just this like simple

0:27:18.240 --> 0:27:22.440
<v Speaker 1>part of ourselves and these things that we do. Yeah, anyway,

0:27:23.040 --> 0:27:25.000
<v Speaker 1>I'm murder kiljoy. The world is ending in the stark

0:27:25.040 --> 0:27:27.080
<v Speaker 1>all the time. But spend time with people you love

0:27:27.200 --> 0:27:29.920
<v Speaker 1>and eat nourishing food. Rest up, We've got a good

0:27:29.920 --> 0:27:31.679
<v Speaker 1>fight ahead of us, and see you in the new

0:27:31.760 --> 0:27:38.400
<v Speaker 1>year and love you all. Bye. It could Happen here

0:27:38.400 --> 0:27:41.080
<v Speaker 1>as a production of cool Zone Media. For more podcasts

0:27:41.080 --> 0:27:43.960
<v Speaker 1>from cool Zone Media, visit our website cool zonemedia dot

0:27:43.960 --> 0:27:46.920
<v Speaker 1>com or check us out on the iHeartRadio app, Apple Podcasts,

0:27:47.040 --> 0:27:50.040
<v Speaker 1>or wherever you listen to podcasts. You can find sources

0:27:50.040 --> 0:27:52.640
<v Speaker 1>where it Could Happen here, updated monthly at cool zone

0:27:52.680 --> 0:27:55.480
<v Speaker 1>Media dot com slash sources. Thanks for listening,