 Hello. Welcome. Welcome. My name is Eliana and I'm a librarian at the San Francisco Public Library. I am so happy you are here with us for the first of two author events in our series, The Golden Door Meets the Golden Gate. In partnership with New York Public Library and San Francisco Unified School District Libraries. This program is live streaming from San Francisco, California, and I'm going to share land acknowledgement to raise awareness and offer gratitude. The area now known as San Francisco is the unceded ancestral homeland of the Ramatush Ohlone peoples of the San Francisco Peninsula. As the original peoples of this land, the Ramatush Ohlone have never ceded, lost nor forgotten their responsibilities as the caretakers of this place. We recognize that we benefit from living, working and learning on their traditional homeland. As uninvited guests, we affirm their sovereign rights as first peoples and wish to pay our respects to the ancestors, elders and relatives of the Ramatush community. I encourage you to learn about the land where you reside or the land that you visit. There will be resources in the chat and you can always visit your local library. We are very thankful for our partnership with the Chatham Square and Seward Park Libraries of the New York Public Library. The San Francisco Unified School District Libraries and San Francisco Public Library to bring this special series to students, educators and our communities. Student book groups from SF's Marina, Hoover and Roosevelt Middle Schools, along with students from New York's PS 184 and PS 126 have been discussing Edlin's book as part of the series, The Golden Door Meets the Golden Gate. In this series, students and educators have connected with their bi-coastal peers and are participating in virtual author talks based in SF Chinatown and New York's Chinatown. In preparation for the author visit, educators guide discussion and youth consider themes and questions to pose. Be sure to save the date for the April author interview with Melinda Lowe, author of Last Night at the Telegraph Club, set in 1954 SF Chinatown on YouTube. Here is a map of the San Francisco with our schools, Marina, Roosevelt and Hoover marked, and here is a map of New York City with our schools PS 184 and PS 126 marked. Now about Edlin. Edlin is a native New Yorker of Taiwanese and Chinese descent and the first author to win three Asian American literary awards. His books include Baylade and a mystery trilogy set in New York's Chinatown in the 70s. This is a bust, snakes can't run and one red bastard. Ghost Month published by Soho Crime is a Taipei based mystery and incensed and 99 ways to die continue that series. David Tong can't have a girlfriend until he gets into an Ivy League college published by Kaia Press is his first YA novel. Lynn lives in Brooklyn with his wife, actress Cindy Chung and son. Our friends in New York or New York librarians created this very cool map with place markers to set the scene for us. Here we have our setting Shark Beach, New Jersey, and Chinatown New York. And here we have places of interest in the novel, along with our New York schools represented and of course the libraries. So without further ado, please welcome Edlin. Hey guys, how you doing? Hope you're all doing great. It's funny I was just eating opposite of Chinatown Farage so that picture the arcade in Chinatown. Okay, what I'm going to do is I'm going to read for about 10 minutes from from the novel from a part where David is pushed to ask his mother for the money to rent a tux for the school dance. Okay, here we go. My heart was pounding in fear when my mother picked me up as usual at the bus stop. I was full on terrified to lay out all my plans and full, which I needed to do to even have a shot at her giving me the tux money. Cool. She asked. Fine. I said, I saw her mouth twitch. She was suspicious when she didn't hear grades. No tests or quizzes. No, nothing today. What about harmony health, still nothing. I couldn't muster the courage to bring up the dance. Once we got to the restaurant, I went into work mode. Every time I thought I was going to get a break for a few minutes. Another task presented itself. Soon the night was almost over. We were cleaning up. It was now or never. I'd already decided there was no way I was going to tell my mother about the dance once we got home. She'd said numerous times that when she gets home, she just wants to sleep. Plus, here at the restaurant, there was always the chance I could rally up some backup support from Auntie Dong or my dad. At the very least, my mother would think twice before really lashing into me if it came to that. My newly found level of social acceptance and the potential for a real life girlfriend was riding on being able to go to the dance. I could be as cool at Shark Beach High as I was at the Chinese school in Chinatown. But in order for that to happen, I needed to go to Nordstrom this week. There was no way to put it off any longer. Mom, I said hoarsely. She was stapling receipts near the cash register. Yes. Can you help me rent a tuxedo? Tuxedo? What for? I want to go to a school dance. She put down the stapler and curled her hands into fists. You want to go to a dance. My shoulders and voluntarily shrugged out of fear. A girl asked me to go and I said yes. A girl said my mother, like a TV detective announcing she'd found the murder weapon. I heard my father moving somewhere behind me, possibly taking shelter. Who's this girl? Christina Tao. My mother flared her nostrils. Is she your secret girlfriend, David? No, I said. I don't have a girlfriend. Much less a secret girlfriend. Tao, she said venomously. It sounds like a Cantonese name. My mother sometimes expressed distaste for Cantonese people for no explicable reason. How many times have I told you you're not allowed to have a girlfriend until college? You'd better get into an Ivy League school. It was the end of yet another day, a long day of work, but my mother didn't seem tired at all. She was as mad as I've ever seen her. I know, I know. I looked around for some silent show of support. Auntie Dong's English wasn't great, but she could probably understand what was happening. Auntie Dong was diligently wiping down a tabletop her head bent. My father suddenly found that something in the kitchen required him. After a brief pause, my mother was on me again. You're not even number one, are you? She pointed at my nose, all the way down at number eight. You spent too much time thinking about girls. That was a complete lie. I spent too much time working at this restaurant, I protested. You know how long I worked here? How long your father works here? You want to run around with girls while we're spending the day and night here making money so we can live? Oh no. Don't let her start talking about money when she's this angry. Okay look, I said, attempting to calm her down. It's just one dance. It's not a big deal. Christina's parents are Chinese too and they think it's okay. But there was no calm eye to this storm. They're not your parents and that's not my child. Why can't you understand? No, you don't understand. A lot of kids are going. Not you, David. My mother's thundered. You tell this girl you don't want a girlfriend and you don't want to talk to her anymore. I already told her I would go, I said, tell her you can't. You're in school and school is for learning, not for girls. She closed her lips and wiped her front teeth with her tongue considering something. Give me your phone, David. What? Give me your phone. I don't want you talking and sexting with this girl. I'm not sexting with her mom. Who knows what you're doing? I handed over my phone and half a second later it was zipped up in her purse. Nothing ever escaped from there, not even light. Thank you. Thank you. Fantastic. Thank you so much, Ed, for reading that. Yes, we have so many questions. So many questions and we have one that came in really, really quickly. So I'd love to go to that one. What inspired you to write this book? Oh, well, you know, my my agent had been on my case for years to write a YA book, a young adult book. And, you know, he's like, you know, you've got an, you know, year for dialogue for characters. You know, I think you'd be really good at it. I hadn't really thought about it. And so I actually read a couple of YA books that he had suggested. And, and I just kind of, I saw an opportunity there because I didn't really see anything that, you know, felt like something that I had lived with. And so I felt like I kind of had to go into that space, that specific New Jersey kind of space where, you know, kind of just like when you're a kid, and you're getting older, you're on the verge of adulthood and you kind of just see what you could be and you're still kind of close to it. And yet so far away, it's like living in Jersey. You're so close to the city. And yet you're so far away from all the cultural happenings there and everything. And so I wanted to capture that, that feeling of the jerseiness of young adulthood or early adulthood. And you, that's fantastic, I think. And I love the characters. I love the place as character, like the setting as character. I feel like that really came through very, very well. I'm not familiar with New York, and I felt like I didn't necessarily need to be. We did get some questions before from our youth. And one of them was like, was this about your life? Is this autobiographical? And then there's a kind of a follow up continuing with that thread. So, yeah. It is somewhat autobiographical. I, you know, David is much nicer and much smarter than I ever was. But, you know, my mother had been on my case to get into an Ivy League school and everything. And, you know, I tried to capture, you know, the terror of like not, you know, achieving that and everything. And really in high school, we moved the summer before my senior year, we moved to Pennsylvania. Because we moved to Pennsylvania, UPenn has this program where, I don't know if it's still counts or not, but if you're a Pennsylvania resident, you can apply to the early admission program. But if you're admitted, you don't have to go. Usually, you know, you apply early decision, you're obligated to go. You know, but we, I applied, I got in. So I knew by like the end of November that I had gotten into an Ivy League school and I was just so relieved. I was so relieved. I could like, you know, draw a line under that because like, if I happen, I would probably still be hearing about it now. I mean, and, you know, in the end, it really doesn't mean, you know, very much at all. But, you know, at least I had achieved that. You had, you had just said like David was nice. It's semi autobiographical and that David was nice. And we have some questions here like, yeah, what are your opinions on him? Would you be his friend? And they kind of go between like, he's somewhat likable and then some are like, you know, what's his deal? So do you think that David will have the same expectations for his children someday? Is David going to have children? Like it becomes like this, you know, ongoing kind of quest. I know, I know, you know, hey, he's got to take it one step at a time. He's growing into himself, you know, it remains to be seen. You know, but that happens off the page. But he is able to, you know, take a stand for himself by the end of the book. And when I conceived of this character, I came up with the name David Tung because he has a divided tongue. He's not, he's kind of equivocating things, but he's finally able to stand up and be his own person. That's a thank you for answering that. That was also a question is, how did you come up with the names of your characters? David, that way. You know, other people are different, different people that I've encountered. When I was in Jersey, it wasn't a really, there was not a very high population of Asians. Right now, though, in Northern Jersey, there are towns where it's like 70, 80% Asian and like the schools like similar amounts. And I went to Columbia for college. And, you know, when I got into Columbia, I was like, cool, I'm going to be hanging out with like a bunch of Asians and we're going to like do all the social justice stuff. It'll be really awesome. But like, when I got there, it was like, you know, I was such a hick. I was a guy in like plaid and like jeans, and they were so cool. They all had like really cool clothes. Some of them had cars, they all had like fake IDs, they were going to clubs, like early and stuff. And like, I was, I was like, totally the outsider in terms of that. And so I just pulled that, you know, that college experience into high school, and kind of use that as a basis for what I imagine is happening now. That's fascinating. Another question that kind of pops up around David is why is he so different in Chinese school? Because I feel like when he comes into that Chinese school in Chinatown, he's an outsider there, but that's actually kind of an edge. And there are like whispers like, oh, he comes from a really rich place in Jersey. You know, he must be like, you know, come from this awesome family and everything. And so he's, you know, that's a step up for him as opposed to being in Shark Beach where he's like, you know, kind of thrown into the manual labor kind of thing, you know, as opposed to like, you know, having his own law firm or hedge fund that the other kids have. So just, you know, whatever rumors are in the air about you actually benefit him in Chinatown and hurt him in Shark Beach. I really appreciated from the, from the kind of the jump right from the beginning, I felt like you're kind of hooked with these different groups and how where he's trying to like find his sense of place at Shark Beach. And like how that's kind of delineated very, very profoundly, I thought. So, there were some questions about process for you like, how long did it take you to write the book like how, how was that for you and what's your process around, was it different from writing your adult novels. Oh, it's very different because, you know, the adult mystery novels. Well, you know, I really appreciate humor. And that's something that I have in the mystery books. And I feel like it's more of like a fun kind of thing it's like entertainment kind of reading. But, you know, when I'm writing with, you know, my younger self in mind, and young Asian Americans, I wanted to be, even though it's fiction, I wanted to be as truthful as possible. I wanted to speak to their situation that I imagined that they're in. And to let them know that they're, they're not alone if they're kind of in this sort of thing that there is a way through part of the struggle is something that all of us have struggled with and so you're not alone in this. And, you know, to have a bit of an outside kind of thing, it may be see a lighter side, if possible. Let's see, let's say it's March now so we're coming near the end of an academic year. Sure, people are a little pressed. I've seen the documentary try harder about the kids in Lowell and I'm like, Wow, it's it's that's that's really on game on right there. So, to every everybody in that situation I'm like, hang in there and believe in yourself. Did you want to be an author growing up. You know, I've wanted to write ever since I knew how to write. I don't know how to describe it. My elementary school in Jersey had a literary magazine called scribbles, and I remember writing poetry for it. You know, when my wife wants to like, really take me down a few notches so quotes from the poetry that I had in like first or second grade. But that's right off of that first second grade I knew I wanted to write. And when you write, what is that like, do you need to be in like a quiet place, do you listen to music, do you eat or any kinds of foods or have a drink that you go to. Well, you know, early on when I was working on what became my first novel. Everybody, you know there's a stereotype that your first published novel is probably the second or third one that you actually wrote. And for me that's totally true. I, you know, I'd written two books beforehand that are spinning in some floppy disk right now. But it at first I thought I would have to write at the certain time at night. I have like, you know, a tea right here and like a Coke with ice right here. But then I got a little afraid, I thought that I would, if I didn't have these certain things I wouldn't be able to write. And so like, just in the sense that you have to destroy your darlings when you're editing. When you're editing, there can be no sacred cows you have to like strip out everything that doesn't make sense or whatever. And so I destroyed any kind of potential routine thing that I had so now I can write almost anywhere. I've even written on Greyhound buses and Amtrak trains, or in the conference room like I am now. And, you know, we have a nine year old kid so there's no, I don't know what a quiet space really is anymore. Because even when he's asleep, I feel like my thoughts are like interrupted by things I need to do. But, you know, writing is a discipline. You know, it can be fun. You should have fun with it. And it is an earned joy, I will say. If there are any other questions, feel free to pop them in the chat. We'll continue with these questions. I love this Q&A session just going in. We have some really fun questions to like, do you laugh at memes? Do I laugh at memes if they're funny? Would David laugh at memes? David might glance at it and register that it's funny and then think, ah, I'm cats. Yes, exactly. Yeah. And then we have a couple more questions around like food. So why does food come up so much in your novel? He works at a restaurant. You know, when I was growing up, my family's business was a hotel and that's a like 24 hour kind of business. The restaurant game is a little different. You know, you got to start out early in the morning. And if you're a restaurant kid or restaurant kids out there, you know, the first thing right off the bat, you got to prepare all the vegetables. You'll be there like seven in the morning, cutting vegetables, you know, stripping out stems and getting them ready and everything. And it's not like David is like really enamored with his food or anything, but he knows how good it is by, you know, eating the food that they serve in the Chinatown school and like just, you know, thinking, ah, terrible food right here. Yeah, it's just ever present in his life. Right. So that's just part of part of the part of the character. Totally. Yeah. Well, and I appreciate that you bring in the the piece around like his his parents have a restaurant and he kind of also delineates, you know, who in his school has comes from money and who comes from like, you know, you know, business businesses. So I really appreciate that because I think sometimes that that's an outsider looking in can be that can be hard to grasp for some folks. Yes. Yeah, it's not a uniform demographic at all. You know, I mean, surely there are a lot of really prosperous Asian Americans, but Asian Americans, you know, very high percentage of kids living in poverty and you can take a look at something like Stuyvesant High School in New York City. It's one of the three special schools that you have to test into and have like super high grade scores and it's like 80, 85% Asian. But, you know, most of these kids are on assisted or free lunches to. So there's there's many different swirls and many different flavors of Asians, even within, you know, the diaspora known as Chinese and I kind of wanted to complicate it as I did in this novel. I wanted to set it in a predominantly, you know, Chinese diasporic student body to show the issues that we even have within ourselves, you know, like, you know, apart from like the white racism that, you know, the one or two Asian African students might have in other school systems, I just wanted to talk about us and like our problems and issues with each other. And there's plenty, like even within a single family, as I'm sure a lot of these readers know. So what what message would you want the readers to take away from the book. Is there a message, or is there a couple of them. Well, one of them really to, you know, if you're feeling doubtful about yourself to believe in yourself more, really hear and understand yourself. I know, you know, for a lot of kids high schools are really fearful kind of time. It's okay to feel the fear just, you know, sit with it, understand it, understand why you feel afraid, but don't let it stop you from doing things. I mean, if you want to be on the dance team, and you're afraid of like looking foolish in front of people, you know, keep keep the fear but go ahead and still, you know, try out for the team, you know, you really have to push yourself in order to grow when you when you're afraid of something. You are growing. And pretty soon, when you get older, you'll you'll find the fear kind of falling away just got something new. So I'm just saying, like, understand yourself completely. What part of the book did you have the hardest time writing. Let's see. I would say none of it was really easy. I was just kind of like looking back at my own childhood and being like a lot of writing a lot of it was painful. So you know, as I said, I don't let the pain or fear stop me. I just kept going. I feel like one of the hardest things to get right maybe was, you know, just near the end of the book where David has the realization that as hard a time is he's felt that he's been given in Shark Beach that a lot of these kids are, you know, they're in their own place of pain and that he's able to see that and and he's also able to see that, you know, not everybody hated him. And just to have that groundswell support when he wins the internship at Harmony Health and people there actually to celebrate him and he's just really shocked that, you know, there are these people there. We have another couple like the questions you're just pouring in so thank you for kind of going, going to rapid fire here. But we have a couple of questions about the characters and the story. Were any of the fictional characters based off of real people in your life. A bit, you know, I took, you know, I took little parts of like people who give me hard times. And I would see that they were coming from a place of pain as an adult I can see that they were coming from a place of pain and I tried to. You know, keep them empathetic as well, you know, even though they're giving David a hard time to be more than one dimensional kind of characters but there's nobody who's like, you know, a direct lift of someone who's, you know, someone that I knew or anything But I hope the characters feel real. Oh, they definitely do. They definitely feel real. Like this next character in the book the science teacher would give pop quizzes when he had laundry day and he would wear mismatched socks. So what gave you the idea to do that and do you think it would work every time. Well, I actually, I had this biology teacher who was like, I don't know, he was there was something a bit pathological about him, like he was on a quest to, you know, punish kids. I remember one time he gave a quiz, and then he left the room, and he went outside of the school, and he looked in through the window, and he wrote down the names of everyone he thought was cheating and gave them all zeros. And that that's one way to teach to teach, you know, teaching equals punishment kind of thing. And he didn't wear mismatched socks but he wore funny socks. I don't know my my idea of having mismatched socks is from me dealing with laundry in the pandemic because you know I haven't been going out very much at all so socks are like one of my least washed items and it's even weird, because even though I don't wear them that often. I still don't get the equal number out in the dryer. I don't know where they went, because I don't wear them too often. Who knows where they go. I don't know either. I don't. If anybody knows, please let us know. Great. And then we have a question about, and I'd like to add a piece to this one. The question is, how many grammar mistakes. Did you make on the novel and I'd love to add a question about like how many times. Did it go through an editor like or and how long does that take because I feel like sometimes people may not understand or may not know the process of like submitting and it takes some time and then you get some feedback and it becomes, you know, a journey. So do you can you talk a little bit about that. Okay, perfect from the beginning. I made about 50 million grammatical mistakes. And this book had a pretty long gestation and really two editors. The first one was a Neil Low Banerjee, the magic editor of Kaya. At first she was going to edit this book, but she ended up going on maternity leave. And so son young Lee, who would have been my first two books way laid, and this is a bus came in and edited as well. And see this is a great illustration for David time, even though we're both Asian American we had very different experiences growing up. We were young Korean American and like her parents were like academics, and you know, I'm like Chinese Taiwanese American, and we ran a hotel. So, early on in the editing she was like, Okay, so David goes to school, and he's practically working full time at the restaurant, and his parents still expect him to get into an Ivy League school and do well in school I kind of find that hard to believe. A lot of a lot of each American kids are working at their families business and, you know, doing their best academically, you know, like studying to like midnight and pass that. But like she she hadn't, you know, know that and like that wasn't part of the art intersected experience. So we had a very thorough edit, the editing time for this thing was probably probably about a year like rewrites and stuff from, you know, starting before the pandemic like 2019 to like early 2020. And what advice would you have for young writers and I mean I'm throughout this whole conversation with you I feel like I'm hearing advice around like just go go for it and just be be who you are and if it's like you said if it's dance go for dance if it's not dance. But for young writers and and I love that you were interested in writing as a child. What. Yeah, what kind of advice would you give a young writer. Wow, I would say, you know, everybody says read widely. But you know, apart from that apart from, you know, going to your libraries and giving your librarians a lot of love, because they are awesome. You should also live widely, you should should travel as much as you can, you know, get involved with things as much as you can, you know, if you don't know much about a certain area. Let's say improv theater, hey, give improv theater a shot. I actually took a few improv classes. And the amazing thing is, it gives you the power to stop time, because like you ever been in a situation where like, I wish I said this, I wish I did that. If you take improv classes, you can learn to be in the moment and like, you know, correct things. It's really cool. So do that. Try to learn from everybody. Talk to stay open with people. Try to have a dialogue with your parents, you're not going to agree about everything. There may be a lot of things you disagree with. And these lived experiences will feed your writing. And, you know, a lot of people also say you should be writing every day, but I don't think that's true. If you try to force yourself to write, you know, write 300, 500 words every day, it can make your writing kind of road. I feel like you should only write when you are, you know, pushed to write and you feel that you, you must write. I mean, there were times when, you know, early on where I would be trying to go to sleep. And like I just couldn't sleep because I had to write, and I would just get up and write until five in the morning, and then like three hours later get up and go to work. So, well, you know, try to get a job where you can be like half awake and get your way through it as well. But everyone who wants to write, you know, get out there and do it. We need to. Yeah, tell your story, right. I love that this is semi autobiographical, you know, you know what it is. And but it's it's definitely that you're you're sharing the story. That you know you're doing, you're sharing that with you and your editor. I thought that was a fantastic piece that even though you're both Asian American, totally separate lived experiences right. We do have some questions around, are your parents proud of you. Oh, that's an interesting question. Well, after reading my third book, my mother said, Finally, this is a book that doesn't shame the family. So, did it ma. Well, you know, I had always been very vocal about wanting to write and my mother has been very vocal about me being a doctor. You know what they say about Asian Americans in college is that they always have like two majors or a major and a minor and one is for them and one is for their parents. And it's definitely true for me. You know the engineering degree that I ended up getting is definitely for my parents and I was also working on a literature writing degree, a special program that I had designed. And I just came one class short of getting it one class short of getting that bachelors. Yeah, so did your mom let you get a girlfriend. She did not let me get one. Let's say very against it, you know, in the same in the same way that this fictional David's mother. Because it's a distraction. And does David get into an Ivy League college. Ooh, good question. I don't know. Will there be a sequel. Also unknown. I mean, it's, but I don't know if people really want to see a sequel instead of using their imaginations and imagining what could happen to them. If both people are want to see equal and then I will write one. We have a few minutes left and I kind of went in on our Q&A, but another piece and I had shared this with you just before we started was, we asked our San Francisco students what kind of myths there are about New York. So I wanted to offer a little bit of time here to kind of go through a couple of them. We also see in the chat somebody wants a sequel, so we'll see how many more of those come. But I wanted to share some of those and if, if you would like to debunk the myth, or if one of our New York students or classrooms is interested in debunking the myth. We'll talk about that for a couple of minutes and then we'll talk about what's next. How's that, how's that sounds. Sure. Cool. So, we have one here. I think a huge stereotype we all believe is that everywhere in the city looks like downtown New York. When this person went they realized very predictably that you all have residential neighborhoods too. So, there's that. I kind of do want to get into this other one. There's it's a two fold. The city that never sleeps. Is it the city that never sleeps. It actually is because I at this crazy job I was working at. I was, I was working at this newswire and it was a 24 hour newswire and for a couple of months I was working either five to midnight or midnight to 7am. And I remember one time I took this cab into work and the guy didn't have change. So he went to this coffee cart and you know this is like, this is like midnight and, you know, to get changed. So it's an interaction between like three people like the middle of a dead night, you know, it was just there was nothing else open. So, just when you think nobody's there there's always somebody there. And it's always active. It's definitely never sleeps. We have an affirmation of it's the city that never sleeps from one of our New York students. And then we have one more question about David's parents. What do you have to well not about David's parents but I'll read the question. What do you have to say to parents that are like David's. I'd say that the American dream is not having your child be a doctor and having you brag to your friends that your, your offspring has become a doctor. The American dream is that you are free to pursue what you want. And that ultimately you want your children to be happy no matter what they do. So when they say they want to do something please support them, no matter how crazy it sounds. You know, if they want to do arts you should let them if they want to be become a doctor, you should let them explore that as well, but you should be a resource you should be a foundation for them to explore their dreams and ways that you were not able to. Here here. Thank you great message. Any, any words of farewell thank you so much at where we're almost at our time so I wanted to give you an opportunity to share kind of any final thoughts or things that you'd like to. When I was in college I was part of a group of Asian Americans trying to bring Asian American studies to the campus because there was no program. And every week at our meetings Yuri Coach Yama, and her husband bill would come like without fail every Sunday night they would come out and they would, you know, give us you know moral support. And they would tell us stories of, you know, the struggle that they had faced. It was like shortly after Japanese American internment was given redress. They would bring their friends, some who had written books about being interned as Japanese Americans, and it was so amazing, and it was like almost another class that I was taking I just never ever forgot that. So, when, when there are like young Asian Americans that I can speak to that I give moral support or even just like be here to make you laugh I will always do it. I'm always here for you. Fantastic. Thank you so much, Ed. This was wonderful. I feel like you, if you hadn't had fans just from your book, you definitely will have them from this engaging conversation. Thank you so much. Oh, no, thank you for thinking of me and everything, getting this program along and everything. And so that was incredible everybody. Thanks again to Ed Lynn. Thanks to our partners at the New York Public Library the Chatham Square and the Seward Park libraries and our San Francisco Unified School District libraries, as well as all of our youth here participating. Thanks to all our students and teachers. And if you love today's program, you can watch it again on our YouTube channel will have the link available and that's all for today so take good care of yourselves. Stay safe. There's tons of love for you Ed here in the chat so thank you everybody have a have a great rest of your day. Okay, we'll see you.