 Hello, everyone. It's great to see you all and thank you all for coming. My name is Sheema. I'm a librarian here at the San Francisco Public Library. And before we begin our program for today, I'd like to acknowledge that I'm in San Francisco, California on the unceded land of the Remetush Ohlone people. To learn more about the land you are on, please visit the link in the chat. As you may know, Summer Stride is the library's annual summer learning program. It looks a little bit different this year, but it's definitely in full swing. Today's program is part of our BIPOC kid lit series, and it wouldn't be possible without the friends of the San Francisco Public Library, so many, many thanks to our friends. I asked today's wonderful author to participate in this program series because the book, Alasas in the World to Fame Hispanic, makes seamless use of multiple languages, which mirrors the experience of so many of our bilingual families in San Francisco today. As you know, during today's program, you'll have a chance to ask our presenter questions, put them in the Q&A box if you're on Zoom or in the chat if you're watching via YouTube. And speaking of today's presenter, I'm delighted to introduce the author of Alasas in the World to Fame Hispanic, Dallas Hunt. This is Cree and a member of the WebSosapy Swan River First Nation in Treaty 8 territory in Northern Alberta, Canada. He's had creative works published in Contemporary Verse 2, Prairie Fire, Prism International and Arc Poetry. His first children's book was Alasas in the World to Fame Hispanic, published through High Water Press, and nominated for several awards. His new book, Cree Land, is out now through Nightwood Editions. Dallas is an assistant professor of indigenous literatures at the University of British Columbia. Welcome Dallas. Hi, everyone. My name is Alasas, and as was just said in the bio, I'm Cree and a member of Swan River First Nation in Treaty 8 territory in Northern Alberta, Canada. So I'm happy to be in San Francisco right now. I wish I was literally in San Francisco right now, but you know, Canada will do. And yeah, I'm so delighted to be here. We're so excited to have you. So Dallas, I know that normally when you do this kind of program, you have a coloring exercise that you would do. So you would hand out black and white versions of the color cover? Yeah, so there are like various versions of Alasas in the world, Fame Hispanic. But one of them is sort of black and white where you can actually sometimes when I go do readings, I'll bring some of these black and white printouts with me and and people will cover them and it's a lot of fun. So actually, I think we can do that virtually today. So I'm going to share a black and white cover. Can everybody see Alasas? And ask our maybe ask our audience for suggestions on how to color this in a little bit. Do we have any suggestions from our audience for what color should Alasas's hair be? Does anybody want to chime in? Let's see. I personally used to have green hair, so maybe all color Alasas's hair, but green is what I'll do. And then in Spanish, the word for green is verde is what's the word for green and creed, Dallas. Oh, that's actually a good question. I do not know. So it's a verb and but we can get into that maybe in that it depends whether or not the thing that you're talking about is animate or inanimate. Yes. Sometimes, yeah, the way so in Cree, sometimes the way we conjugate verbs is whether or not the noun we're talking about is inanimate or animate. So one way I explain this to people is, you know, if we were to say something like pig, you know, in Cree it'd be cocos, which is an animate. But if you were to say bacon in Cree, it would be inanimate. So that's how we sort of, that's how we conjugate our verbs. And colors in Cree are verbs. That's so interesting and not, I think, not entirely unique, necessarily because in Spanish we, there's a different word for fish if you're eating it or if it's in the ocean, which in a sense is experiencing the world pretty differently, right? Is hair considered animate or inanimate? Well, I think my hair is, my hair is animate. No, I, yeah. I actually don't know that is a great question. Okay, well, let's, let's keep that in mind. And I got a suggestion for an orange bunny. So I'm going to color that. I'm going to color that in orange. And a bunny is definitely animate, right? 100%. Yeah, so that would be wappas and that would be the bunny. Okay, awesome. Should we do one more? Can we get one more suggestion, maybe? Let's do, I remember that a purple duck, amazing. Thank you so much, Lisa. Let's do purple. Yeah, it's pretty, pretty cool duck. And the duck is named, we meet him in Oasis and, or them. Yeah, so that is CC. Okay, awesome. So I'm going to stop sharing and then Dallas, you're going to share your screen will continue with the presentation. Thanks everybody for your color suggestions. Okay. So let me share my screen. So can you all see my screen right now? Yes. Okay, perfect. Okay, so I just wanted to kind of give a just general kind of brief talk about this book that I wrote, and that my friend Amanda Strong illustrated. Amanda Strong is a filmmaker, a illustrator, just a fantastic artist generally speaking, and I'm sorry that they can be here today, but you know, every time I talk about this book I get to bring up Amanda and their wonderful work and so I do that sort of as much as possible. But what I might do today is just sort of give a little bit of the sort of context in terms of how this book came to be a book, because I think sometimes people are interested in, you know, process and stuff like that. So this is a wastes in the world time Hispanic we've already done the coloring aspect. So there it is black and white. I want to talk a bit more about how. So you see a wastes on the right here. And I kind of wanted to talk a bit about the evolution of a was this as both a book but also as a character. So one thing I wanted to just sort of foreground here is that actually when I started writing the book. Sorry. This original title was a boy and Hispanic. And so you see here, you have Oh, you have waffles, CC, and you guess the frog on the right there. That was going to be the original title of the book and I just like the sort of alliteration you know and things like that. And so that's why it was sort of configured that way. And then when I talked to my publishers. I was sort of making some of the characters in the book, just sort of gender neutral and things like that and they sort of said well, why does a wastes have to be, you know, a boy. And you know what can we, we just had a long sort of, but very generative sort of talk through about how this children's book would come to be really and how we would sort of think about not only the main character a wastes, but all the other little animals, or kin that a wastes meets on the way. So this was actually a original cover of a wastes and the world famous panic, and it was something that I, and this is something that happens in publishing I think or when you work with other people you. This is not the sort of idea I had for a wastes. And so, when I talked to the illustrator Amanda. I said, so they had already done a book called spirit bear with somebody named Cindy black stock, who's in here in Canada does a lot of great work with indigenous children, and is a is a strong advocate for indigenous children and so I said I kind of wanted the sort of whimsical element of spirit bear. And so we started off with that image, and it didn't particularly jive with me and and I think Amanda too was just trying to get a feel for things and so what happened next, just in terms of this is we started to think through what a was this would look like. And so, at one point a was this look like this. So this is when a was this was still a boy and his panic, and we were trying to think through different titles and think through what a was this would look like. And it's really invigorating or just really interesting I guess to. Yeah, to write something on the page and then see somebody try to like create it as an illustration. Right. And so, this is a was this as a young boy and this would have been a boy in his panic. It still didn't really sit completely right with me and I think Amanda too was like, nah, I don't think that's actually a was this so then we tried this. Also, I think would have been very cute, you know, a great, you know, I, I mean, hopefully these, you know, characters will make their way into subsequent books or something but that too didn't feel like a was this to me. And so, after a while, after several emails back and forth between Amanda and I, we eventually came up with this. And that's a was this. So this is a was this from a was mortal famous panic. And aside from the very cute gray sweater. I think the only change here is that a was is actually where suspenders and the children's book. And so that's how we ended up here. But it really was a sort of collaborative process which took, you know, back and forth emails that were very generative and very like just exciting and and we actually arrived at this character for a was this and then when we were going through the animals we started to talk about things like colors and stuff like that so when we were doing the coloring at the beginning it's kind of funny because I think that. Yeah, we, I like how the funny is blue in the book and in all of these things but I also like seeing all these different characters as all these sort of different colors and stuff like that and so generally that's how I wrote the book and yeah, I just wanted to give you all sort of a sort of little, a little bit of insight into even though I'm doing this in a sort of a bridged amount of time like a short amount of time. This took about a year and a half. So we went through a different title we went through a completely different design we overhauled everything. A was this took many different shapes, and then we eventually ended up with this. Yeah, the cute little person you see in your right there so that's really all I wanted to say about a was this but I'm happy to answer any questions or talk more about the book, but that was the most sort of enlightening part to me was actually going through the collaborative process of being someone who is the terrible drawer and trying to have the children's book and so yeah you have to work with other people and I think working with other people is, you know, incredibly important. Yeah, no definitely and it's it's good to know like creativity is an iterative process right like you had the idea and then you were like, wow this is not what I had in mind how can I explain this to somebody else which is always difficult to right. So it's, it's interesting that it was a conversation and that it took so long. So I have a couple questions, I have some questions and we have some questions from the chat. Um, should I stop sharing or should I just leave this know if you could keep it up that would be great. So the first question is what was the first illustration of a was this. So, Yeah, so the first. So the first illustration of a was this was this one. Sorry, right here. Okay. So, yeah. And I mean you can kind of actually see the beginnings of the book kind of manifesting here you see the bear behind the tree you see the bridge, you see all the little animals and stuff like that. But I know I personally thought this like version of a was this was kind of like a skater boy. Yeah, I'm getting that vibe to for sure. Like, yeah, like he was about to shred the NAR, and I kind of was not so much into that. And so I, that's why I sort of suggested the more sort of whimsical kind of drawing and so that's when you. So a boy in Hispanic would you see above it here was the original title and we. Yeah, that it's kind of misplaced in a way because. Well, maybe it was sort of flipped. Yeah, yeah, in a way so we, we, we got the illustrations down first and then we started to think about the title and things. So that's, yeah, and so this is when you see your losses look a bit different and then a bit different and then when you have a losses on the right here, or at least my right, which I thought was is one of those weird things where you see something and you're kind of like, Oh, that's it. That's what I was like. Yeah. When it was boy and Hispanic was the child always referred to as boy or did boy have a name because correct me if I'm wrong but a wasis means child, right. Yeah. So a wasis in Korea generally is gender neutral. And, yeah, crazy interesting language but in this instance. Yeah, it. And like there are terms for boy and girl in women and men and all these things in Korea and but I had always had the intention of having a sort of character that was just sort of get kind of gender neutral and so I was, I was happy when a man to get back to me with this sort of illustration and I only liked a boy in Hispanic because of the alliteration but when my publisher was like I actually am not sold on that like it's, I don't think it's that great of a title I was like, okay, Well, I mean, that's one thing that I learned throughout this process is to really trust or to have the ability to trust editors. So I'm also an academic by training I'm a professor at the University of British Columbia, and generally academics, you know, there, there can be a push and pull with editors, but with this children's book. And yet, the editors were suggesting things to me that I would have never thought of like ever. And so, just because I don't think in a sort of. Well, I think now I do after the book but when I was first writing it. I didn't think in a sort of visual register in the way that the in the way that the editors sort of pushed me towards and so it was, is really enlightening. Yeah. Yeah, that's actually circles into one of the questions that we have from the chat, because you are an academic. What was the inspiration for making a picture story. So, I was driving with a friend, and we were going from Vancouver, British Columbia and Canada over to this city called Edmonton Alberta, y'all are in San Francisco so you can remember any of this anyway we're driving a bass distance. And we were in this area where it said Bannock for sale. It was like a big pink sign with like black writing kind of how a boy in Hispanic is written there. And we really wanted some of this panic and so we kept trying to get it kept trying to like find this panic and it felt like every time we got within a mile or two of it. And we would see another sign that said it was 10 miles away so we were like, you know, where the hell is this panic. And so, as I was driving with this friend, we were just sort of like, we didn't actually end up getting the panic which is the saddest part about this whole story, but we eventually. We just started to, I was like, wouldn't that be like an interesting like adventure story if you got to like, you know, kind of walk around and look for a panic and all these things and so that was kind of the inspiration was a literal, you know, road trip, trying to find the panic didn't get it. And so, in the book that's a wasps find Hispanic so a wasps in many ways succeeded when, you know, where where I failed. That's, that's awesome but why, what was the jump between saying hey, this is a story that I could share with somebody I know who already works in children's literature, as opposed to completely changing your relationship with editors essentially because, as you said in academia the relationship is quite different between the editor and the author. So what was the extra, what caused you to make that extra jump. I think that's a great question I think more or less what happened was. So, I, I have a close friend who's also a children's book or author rights children's children's books. Their name is Julie flat. And so they have a book called bird song which is incredible and they have a book on Cree numbers and all these things and an incredible illustrator and actually the person who I originally was going to do this book with. But so I remember just telling this story to my friend Julie. We were having tea one day and once I told her the story she said, I think that's a children's book like and I was like yeah I was kind of thinking of it as a children's book and so we talked about it more and more. And again, I would, to people who might not be familiar with Julie flat's work I would really search her out. Her work is incredible and she's constantly producing new work and so we sort of talked about the idea and, but then I think Julie just because Julie is an artist and it's constantly like working on things they had to go do other projects and so they recommended a man to me and so that's sort of what happened at the sort of on that end, just the general getting getting introduced into the sort of publication, or the children's book publishing industry. And so Julie was critical there, and does a lot of great work with a lot of other indigenous authors, indigenous to what's currently called Canada. And then, yeah, in terms of working with the editors, Julie pitched high water press to me and I was incredibly grateful to work with them. And the way the sort of editing process worked was I was like okay, you know, I was just this goes over there and talks to, you know, this animal and stuff like that happens like it made a sort of rational sense to me in my head and all these things. And I remember the first time I sort of started to realize that things could look and just be sort of projected or cast differently was when, while you say a was the cells here. So why don't we make the text big and in all caps. And I was like, I would have never thought of that, like, which seems on the face of it like is something very simple but I think it's just years of being a publishing children's books where the editor was like okay when a wasis whispers we're going to make the writing really, really small. And I was like, that's brilliant. I would have never thought about it, but it, it makes sense. Yeah, I mean I think so again you circled right into one of the questions because one of the questions was, can you give an example of one of the surprising questions to an editor, but I could see also how that would be innovating because when you're making a really strong point in an academic article you don't get to put it in all camps and under a line like I swear. I mean, I wish I could. Yeah. Yeah, is there another example like that maybe. The text in children's books I realized you can really it's very malleable so you can actually play around with it which I was like oh okay this is super invigorating and I like this idea. I had this idea of having the bear show up at the end so mask was the bear and is there at the beginning. I mean, spoiler alert if you haven't read the book it's it's like 11 pages so you can read it pretty but I thought about having the bear at the beginning in the end and maybe somewhere in the middle, and then the publishers said well why don't we have the bear basically on almost on every page. So, if you read the book you'll see the bear almost on every page and that to I was sort of like, yeah that would be fun, like super fun for, you know, for little ones like looking for stuff and. But again is not something that somebody who writes in different registers at time like at times, not something that I would have thought of but yeah those editors are really, really great. Yeah. Yeah, that's really cool. We actually everybody next week if you want to tune into SFGIL's Facebook live. Dallas helped me read a wasis in so we did a trilingual reading in English, Cree and Spanish and it was really cool to see the bear on every single page and it's a cool sort of undermining of expectations because it almost looks like the bear might become ominous, especially at the end. And then it's just ends up being the most helpful. So, that's kind of cool too. I mean all that said if you do see a bear, you should do not invite it into your house but yeah, aside from that. Yeah, I kind of like mask was sort of introduction or how mask was sort of book ends the book like that that was sort of how I envisioned it so. But yeah if you want to hear and Cree Spanish and English, I would definitely check out that video so. So, you said that you were mentioning some places in Canada and you said oh you're in San Francisco you probably don't know where they are but we have a commenter who said they have a cousin and Edmonton. Yeah, and then also someone else from YouTube said hello from Bernadette Maria in Ohio so there's people who might know these places in Canada. Big shout out to Ohio for me. Hello everyone. And, and I have a couple more questions. Kind of a little bit linked. So, this is in Cree and Oasis his name is Cree but did you intend Oasis to represent Cree childhood or a certain kind of Cree childhood was, were you thinking about that when you were talking about your illustrations and the way you characterize them. For instance, I'm from Southern California where it does not snow, but I noticed that in the, this picture on the right, it looks like Oasis is wearing boots, and then the picture on the left it looks like they're wearing movers and I thought like oh of course they would be wearing boots in one of the first illustrations because the snow doesn't get cold there right so I mean, what were you trying to explicitly represent a certain kind of childhood or personhood. Yeah, I think that's, yeah, that's a great question. I wasn't particularly trying to present a form of Cree childhood. I mean, all, but I mean that said, some of the guiding sort of principles behind the book. I think are very critical or crucial to Cree ways of being in the world kind of thing. So, we have this concept called Wukotun, which is basically being in relation to others but it's some people just define it as kinship but my, my understanding of Wukotun is that it's actually it's something you do it's, it's, it's iterative, it's a verb it's something you're constantly enacting right and so it shifts it modulates it does all these things. And so when I thought about the book and what it would look like I basically thought. Yeah, but I wanted this sort of kind of adventure story in the woods kind of thing but I also wanted these sort of notions of sort of reciprocity of sharing of kindness to sort of be there in the foreground and so while I don't think it's in any way representation or, you know, of what being a Cree child is like or any of these things. I wanted to get a few sort of concepts in there where it's like you said Masqua isn't this sort of, you know, ominous character rather it's somebody who in the grand scheme of all these things helps in their own particular way right and so that's sort of how I know we should think of our other than human kid in terms of the Eegis the frog or whether CC the duck is there all doing. They make this ecosystem sort of live and you know flourish and if they disappear we disappear and so I just sort of wanted those, those notions of sharing and kindness to sort of be there from center. Really beautiful again that's really cool and I think it's really sweet how in the book it's on a more, a more immediate level in the sense of everybody in the forest knows how to make panic like that. It is so everybody can help solve this problem of oh no I was supposed to deliver this and now I have it like everybody. It's, it seems like all the animals know like oh life messed up something a chore I was supposed to do so I can help with that. I can totally make back even though I don't have like, you know, possible thumbs. Yeah, I'll do it. The person who asked about whether or not this was representing a certain kind of indigenous group of people. They said, thank you for this bilingual book. And then another question that we had was, and I think you kind of answered it but were you thinking of a specific kid or maybe yourself as a kid when you were thinking of how a was this would move through the world or we when you were talking with Amanda. Like, they seem a was this is very, to me seems very rolling with it and I don't know if that speaks to more the reciprocity but I, I feel like I personally would have had to have a serious freak out if I had messed up something. I just really like that a was this is it seems to be in more harmony with themselves and the world around and so I was just wondering maybe what we're one, one of our participants was wondering to were you thinking of somebody specific or especially I mean I have nieces and nephews and things like that. I like the, the description of a was this is rolling with it. Kind of fits the skater vibe that we had before. But yeah, no, I didn't have anyone in mind. In particular, I just had a sort of. It's kind of the hardest part to sort of talk about about the book just simply because I don't. I'm not an artist and I appreciate people who can draw and who can make things with their hands. You know, I, yeah, I just cobbled together words and I'm just like hey, you know, and I push them out kind of thing. But I sort of had an idea in mind as to what the character would look like, and, but I couldn't quite articulate it. When Amanda came back with the illustrations, it was, it's not like I had anyone in particular in mind but it also was like I had a sort of a shape. There was a, there was a figurative shape to what I wanted to be on the page. And I knew that that the losses that I have here on the left with the sort of past, you know, off to the side and stuff like that was not it. And so when Amanda came back with the sort of like bright, colorful characters that are sort of everything's round in the text, you know, in a way, like, it's not angular. I was like, that's, that's exactly what I was feeling when I wrote the book right so in a weird way, even though it's quite visual. For me, it was how I felt about it when I saw it was, it was all affect all feeling right and so. Yeah, I mean I think that's a great question I wish I had a better answer but no it's not based off of anyone I know and it just. Yeah, I knew a wassus when I saw a wassus but I didn't know them before then. Yeah, I mean that's beautiful to I think and I think it speaks to writing and what you inspired and Amanda and how you kind of came to that together so that's really cool. The whole collaborative aspect of it which is like, yeah, that's probably the funnest part yeah. And I would venture to guess it's not something you necessarily do academia as much. I mean, yeah, I mean I do have some co authored publications so if. Sure. I'll plug myself. I wrote a book with my colleague Gina star blanket it's called storing violence. It's, I know this is a children's book reading or discussion but if you want to know anything about the history of colonization in Canada, especially western Canada, specifically in the prairies or the planes. I wrote a book that I wrote with a friend, and I also have some other publications that I've done with other people. And yeah I think there's something about the collaborative writing aspect, but I think it's can be quite jealous of you. If you give it the room or space to be. Yeah. Yeah, that's, that's really interesting I think that. It's, you know it is a children's book but language affects us all at any point in our lives so it is like, we're thinking about a little bit, going back to something you had spoken to a little bit earlier. And then we have a question about how long did you ponder the idea of the book before you began to start the actual work so there was the search for manic and then there was the discussion with your friend and then with Julie and then how long was the entire process when you talked about coming to a wasis as this illustration with with the illustrator. It took about with Amanda took about a year but how long was everything from the road trip to the first publication. The first thing you had it in your hand. Yeah, it was, it was years. I mean, and that. I mean, would you get the idea. I mean everybody gets ideas for particular books they might write one day and things like that. It wasn't until I was sort of nudged by a few people who were close to me to actually write this thing that I was like okay, I can write it. The story I told about trying to find panic. And when that event happened and when the actual publication the book happened. I lived in different parts of Canada like that a lot of things happened in my life in between those events in terms of moving across, you know, a vast country and things like that and so I, I kind of want to say all told probably something like three years. I mean, if you get an idea and you write it down right away and you find a publisher and you have an illustrator like sort of at the ready, it could take, you know, eight to 12 months maybe but I didn't know I was going to write a children's book I didn't know what it was going to look like I didn't know where I was living it was all these things all at once and so I just so happened to be moving to Winnipeg, which again it's a tiny little city in Canada, and I was moving there to be a professor in the native studies department and as I was moving there just have another high water press was there as well. I found my publisher and all those things but I had the idea and then cover fleshed it out and then cover and just, I think also wrote it in Vancouver, and so it took not only a lot of time but I actually moved spatially like across the vast distances as well and you know all these things if you're looking to write the children's book, like I don't think there's a right or wrong answer to this but just yeah if you have an idea that you want to see to the end, then I would pursue it. That's what I did. Thank you'll do it again. I hope to. I have a few ideas. But, and the publisher wants to have a sort of series of the losses doing, you know, interacting with different things and, and because the text is pedagogical to I mean the first one is about, you know, you can make bannock and you can learn some if I were to do it again I would, it would be about learning Cree and but it would also be about, you know, making something else right it's it's I wanted to have a sort of. I've always thought of the losses and all of the stuff as a sort of like a very engaged sort of reading and sort of participation with the text. That would be so awesome I would get we hope we're excited to see it we were waiting. No, I mean, I'm just trying to give any spoilers, you know, yeah, no, no. You can tell me off camera. Okay. I have another question and then I have to have. Well, we have a question from the chat. How did you decide to make the transition of writing on historical issues to writing a children's book. I mean the, which I mean it kind of sounds like it isn't as much of a jump necessarily isn't my theme right as of language and because of living in this space that is contested space and so many ways. Yeah, they were just curious. Yeah, yeah, I think that's a great question. Yeah, so yeah, I think a few things so I'm just a literature scholar and that's what I am an English professor and so I read a lot of books whether they're you know, graphic novels to children's books to novels to critical tax and you know, all of these things and so I I really envisioned my in never really envisioned myself being a children's book author or at least writing a children's book but I am. I think generally I have a sort of, there's a sort of promiscuous way in which I'll, you know, I read a lot of stuff and I sort of write a lot of different things, and I just sort of like go in all these sort of different areas. And I think cultivating sort of generative that in a way that it's you know you can sort of navigate between different genres and texts and stuff like that it sort of led me to. But I also wanted to get at ideas of, as I said, the sort of deep down Cree ideas of Kotlin and things like that. I will also state like as well that like, I think Bannock is a very complicated and contentious term, and I mean not the term in and of itself but the idea of it it has a interesting history. And just to get the historical aspect of this question is, yeah, I've, I've had. So, Bannock for some indigenous people is a sort of a sort of a comfort food, it was a food wherein, you know, as colonial forces are moving westward and all all these things are happening and something that's cheap. Something you can make very quickly. And yet, I think there is a sort of tendency or there's. Yeah. This is a long complicated thing to sort of, you know, articulate and I almost immediately regret to bring. No, it's fascinating. So, so I think in the US y'all say usually something like fry bread, right. Yeah, so you can make Bannock and you can fry it and it's essentially fry bread. But there's also, there's a way in which people talk about fry bread and Bannock which sort of makes it as though these particular comfort foods for indigenous peoples that they've had to use strategically historically, you know, as people are sort of advancing into their homelands. There's a way in which these foods are framed as, you know, as a well they're sort of pathologized in a way so, you know, because there might be high tendencies of diabetes or things like that within within our you know, things like that that that it's because we eat these foods and so when I wrote, like I've had conversations about the book afterwards and it's, it's not a sort of uncritical celebration of foods that might affect us in harmful ways. I personally don't that I think Bannock has the possibility of doing that but not necessarily I think really at times when I think about things like Bannock or fry bread or fry bread, what I'm sort of thinking about is that, you know, at times indigenous people's are placed in literal food deserts like we don't have and they will eradicate our entire economies that we have at work like how we sustain ourselves and how we live and function in these areas. And what will happen after that is they'll build a gas station and say okay eat these processed foods or you can make this cheap food that you used to use for survival that provides all this comfort and all these things. But if anything happens to you we're going to actually then project that blame. Yeah, yeah, so I, I, this is a bit of a tangent here but I just somebody asked about the historical aspect of Bannock and and trying to write academically while thinking through children's books I also was cognizant of, or tried to be like, what does it look like, or you know be aware of writing a book about Bannock that can seem celebratory, but also like know the context and history of this particular, you know, food item and I think what I would say generally is that I think it's fine to eat Bannock and especially if it's a comfort food and it has been historically but it's also been a way in which indigenous peoples have avoided things like starvation. And I think that. Yeah, I think it's. It's a form of resistance using tools that you were left with after there was displacement and genocide and colonization of a space and. The tools of resistance are worthwhile and definitely part of the historical record and definitely important for kids to learn I mean, these kinds of conversations are why we wanted to have BIPOC authors. Okay, okay. Yeah, I was sort of coaching my language a bit. No, please don't. This is exactly what you're talking about. Yeah, no I think that's wonderful that's, I'm really glad that we, you know, that's, you were able to say that I think that's really important we have a fry bread power. Comment in the chat so thank you, it is delicious. I can't wait to try Bannock I'm definitely going to try the recipe and if you check out the book. There is a recipe in Oasis and the world's famous panic and you can check that out on who play using our resources with your SPL card so there's no wait list and it's at the very back, and just really quick we're getting close to time but just on the legs of that last question. Dallas if you're going to have panic. And I know you can put toppings on it do you go sweet or do you go savory what. What is your coaching. Yeah, that's probably. Yeah, the most important question that's been, I'm just kidding. But yeah, I, I'm personally a savory person so I like, I would be panic with the stew, you know, like hamburger soup, like, sort of like just things that I grew up with. Bannock would like just some jam or jelly, you know, and butter is also incredible as well, but I usually tend to go on the savory side of things. And they have something which I'm sure you're familiar with being from California they have things called Indian tacos. Oh yeah, so yeah so you get a big piece of fried bread and it's just you know, you're, it's essentially a taco and it's. It's nothing. Nothing can beat that but it's delicious. It's okay they are, they are scrumptious. Yeah. Well, thank you so so much for being part of this author series and for participating in our summer stride Dallas it's been really amazing thank you to all of our attendees for their questions for facilitating allowing us to have this conversation we really appreciate your participation. It's always so exciting to see everybody at the virtual program so yes thank you so much Dallas I'll probably email you later but thank you. And just everybody, please join us again next week on Thursday June 24. For the next installment of our BIPOC kid lit series with Zeta Elliott the author of a place inside me upon to heal the heart. And as I mentioned and as the link was dropped next week also on Thursday. There's the live reading will me and Dallas reading a losses in the world's famous panic in the Spanish English and Creed. So that's all for today everybody take care and we look forward to seeing you soon at any one of our open library locations or at any of these virtual programs. And if you want more information about the San Francisco public library branches that are reopening because we know things are changing very quickly. And visit SFPL dot org flash reopening for more information. So thanks again so much everybody, and have a great Thursday.