 I have to say one of the most rewarding things teaching underrepresented writers or people of color is that students are often, their views change or their views are affected, their views about race, their views about ethnicity. And so just on that level it's just, it's fascinating to me to watch a student sort of grow but within this context of studying this particular area. I have a student who I'm still in touch with, an African-American student who took my intro to African-American lit GUR years ago and she told me that when she first sat in on the class, when she first took my class and we were reading James Baldwin and Langston Hughes and Toni Morrison and we talked about the civil rights movement and black nationalism and she told me that she was really angry at me, that she didn't like me and I asked her why and she said, well it wasn't that I didn't like you, it's just that as a black woman I wasn't prepared to confront this. I had never been asked to engage with questions of race and ethnicity at such a close intimate level and she felt at first sort of put off by it and frustrated but then she started to realize that what she was angry about and this is what she told me, is that nobody had ever pushed her to think about it before and she was already 20 something so this is a student who would then go on she took I think after that three more classes of mine and she's now at the University of Chicago pursuing a degree in black studies so she's, you know, I mean when something like that happens it's incredibly rewarding, very humbling and it also just kind of affirms for me that this kind of material is incredibly important especially for students of color. That is really fundamentally the most rewarding thing is when I get, when I have students of color who are actively seeking out my classes because they want to learn, you know, about themselves, where they come from what their parents went through and that's just unbelievably rewarding and it's great. And it's also, you know, it's also rewarding to work with students who aren't familiar with the material and who have never thought about race because they themselves don't identify as being someone of color it's rewarding to realize or to sort of watch them also encounter the material wrestle with it for a while, engage with it critically through writing and research and then come out of the class, you know, I know that they've learned something and that they wouldn't have, you know, not only would they not know who James Baldwin was or Thomas Rivera was, but they'll all, they'll report things like about history that they didn't realize, you know, happened or that they hadn't thought about a particular issue or they'll, you know, they'll realize, wow, the stuff that Phyllis Wheatley was talking about in the 18th century is continuing to be, to emerge in like contemporary American race politics or, you know, questions about race. So that's just, it's just unbelievably rewarding to see that. So I have a student who she's, she was a design major and she took my intro to Chicano lit last year and she was so inspired by, there was a segment of the class on visual art on paintings from the 1960s and 70s during the civil rights movement and she was so inspired by it that she started to work on sculptures that sort of reflected some of the stuff she was, or sort of articulated the stuff we were studying in class. And she ended up featuring some of it at Art Walk in downtown Bellingham and so I got to go and see her art and listen to her explain what the, what the pieces represented and how they were coming out of a class that was on, you know, Latino literature and culture and so I'll have students like, students like that whose art is affected or who, you know, actively sort of express what they're learning through their art which is really rewarding too. Thank you.