 Thank you very much, Philippe, for always the pace of that. Now we have to move a little bit, because I don't know if we should have any questions now. I can put them in the description. How did you get the idea, or what was the inspiration for us? The question was, how did you get the idea, what was the inspiration? At the beginning of 2013, there was a symposium on money, which was organised by a very important Austrian literature magazine. They invited me to write something about money. Wow, okay. It was winter, and I had my disappointment with just the wooden oven. It was very romantic, so I was kind of really isolated, closed up, and was reading lots of literature about the theory of money and about these things. And then I came to one phenomenon. I found something that, you know, in Austria we had Schilling. This was the currency before we changed to the Euro. And I found out that what they did when they changed the currency system was that they destroyed it. They gathered the currency, at least the banknotes, and I don't know if the word is the same, they shredded it, and then they packed it and they started to sell it to construction companies. And they used it to fill walls. So I had this imagination of all this old money whispering inside the walls. But this didn't get me so far. So I did some more research on this process of destroying money. And finally I stumbled over this incredible story of Malachit and this place where the whole currency of the German Democratic Republic was stored to decompose. Can you say something about the two key metaphors, Malachit, and its meaning? Yeah, that's right. The whole story ends in the idea of total arbitrarity. Is there a word like that? Everything can be, in the world of a financial world, everything can be exchanged through everything because everything can be counted, everything can be made a number. And so in some way it's completely arbitrary to have this Amphispaina at the end, which is the last word. So the last sentence is, everything... I was not able to tell the difference between myself and so on and everything, every word, all significance stops. An Amphispaina is actually a serpent which has some mythological creature, like a serpent with two heads on both ends. So for me it's kind of a symbol of this randomness. But on the other hand it's really random that this is the word. It's just a word that sounds very well. I think Malachit is the assumed name of this Nazi project, of this system of tunnels which was built by the concentration camp prisoners of Langensteins wie Berge. There were thousands who built this system of tunnels which should be there to have a place to construct weapons and airplanes under the earth. So it's hidden and protected from the Allies like bombing it. And they had this code name or this assumed name which was Malachit. Thank you so much. This is so beautiful to listen to and I really hope I can hear your use. I just thought maybe you and Barbara could ruminate a little bit about the translation process and kind of moments of discussion or things that came up or how you achieved your working rhythm together or any just anecdotes or details about what that was like to be working together in the production of the translation on screen. Actually I came in and this process was very late, so two days ago, to be honest. And Barbara already did an enormous work. And I was just here to work on details and then we ended up sitting there the last two days and hours and hours and hours. I think it was nine hours altogether and we were working really hard and concentrated on the rhythm and on how this could... I mean this is horrible to translate, like sentences that have almost half a page and in German this works perfectly, but in English this is really hard. And the other thing which was really... I just tell that there's a word in German which is really central for this text, which is Schein. In German there's this word Schein and it has three major meanings. One is banknote, the other is illusion and the other is light, like in sunshine which is the only one which is the same in English. And my whole text works with this interaction of these meanings which are not random in German because there is a strong bondage or I don't know how to put it between illusion and money, like fiat money or these banknotes which are just bare material but without any value actually, so the value we put into it is just an illusion in some way. So in German we have this one word and the whole text works with this place with this arbitrarity or with this multidimensional word and so this was really, really hard and we were kind of really... but maybe you want to say something about that. I can say that after the seventh hour I turned to Philippine and said, the next time you write, can you write shorter sentences? But I mean it was an amazing experience actually because to be able to sit with the author and his insistence really on a certain rhythm in the text where I would draw a word like that and then him pointing to that and saying, no, this needs to be in the text because it doesn't reproduce the rhythm or the repetitions. So there were things that he was attuned to. I think that my text would have been a little flatter to be flat, to be honest, in certain parts because when I was reading it I mean I read it actually with my own body and with my own rhythm so I may have been bringing something else to the text and then with him sitting next to me and then reciting the text in his rhythm it gave it a whole different texture and I know that we did struggle over certain words but I think that we were able to unpack a little bit to find an English translation for just to keep that metaphor going but it was funny as he was reading of course I was watching the text and thinking, oh my god we have to change that word but it was a wonderful experience. Thank you so much and I'm so glad that she came back to the cadence and I teach by woman's literature and listening to you read it it was so lyrical in that very similar vein which goes back to the sort of rhythm that you guys had to come to thank you for translating it was beautiful. I'm curious because the characters were so evocative and hearing you read the story you almost pulled us into a lull it was soothing to read about something so dark and weird, I can say that. How did you develop the characters I know you talked about the framework the scaffolding of the story but what was it that brought you lowline and this connection between the contemporary struggles with you know sexual objectification of people and drugs and then with the old as well? I'm not sure if I'm able to answer your question yeah it really makes me stutter now could you like narrow it down a bit maybe a question? You're sitting there at your desk how does Lola's voice come to you and then because Lola's I mean just hearing you read 30 minutes you know I could read more and I want to hear more and it just seems this connection between the past and present mingled in her voice these agonies almost you talked about how you found the narrative for the monies how did her voice come to you or the characterization because it's wonderful yeah thank you this is really much harder to answer because there's I guess a lot of things happening which I not know by myself and I think you can feel it it kind of came over me and I mean of course I have some framework to that and I have some ideas about the contradiction between them and they have this amazing story or this childhood experience together going down this tunnel system and getting like this is kind of like a horror story and entering history and entering like the unconscious like this is a whole metaphor of unconsciousness and finding like I mean like the most horrible things imagine and like and for children like the most wonderful like finding a treasure this is so playful and then when they realize when they what they actually found and where they are this is so like a horrible I don't know like a horrible experience that really marked them that really like they were never again able to let it go so like and so like both of them were determined in their whole life story by this actually experience and they had it into completely different ways to cope with that like Finn really tries to get rid of this money by really destroying it by doing some work with his hands by like going to the material I don't know how to pronounce that word but like to the material to the matter and this aspect of money and and kind of getting rid of this of this shock by just going on and on like to destroy this money and Lola is really heading towards the sky so she's getting into this very contemporary and collective way of financial psychosis as I would call it so to kind of escape upward and yeah and I don't yeah that's hopefully some kind of answer I'm going to invite you to please if you have any other questions to talk with Finn during the reception so that we can move on with our program but please join me again in thanking Finn for that.