David Damrosch, AROUND THE WORLD IN 80 BOOKS
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[0:40]David Damrosh is the author of Around the World in 80 Books.
[0:44]David is the earnest Burnbound Professor of Comparative Literature
[0:48]and Chair of Comparative Literature at Harvard University
[0:51]and Director of Harvard's Institute for World Literature.
[0:54]He is the author or editor of 25 books, including what is World Literature,
[0:59]the buried book, comparing the literatures, and the sixth volume
[1:03]Long Man Anthology of World Literature.
[1:05]He is lectured in 50 countries around the world
[1:07]and his online Harvard course, Masterpiece of World Literature,
[1:10]has been taken by nearly 100,000 people.
[1:13]Wow.
[1:14]Welcome, David.
[1:15]Thank you so much for coming on Moms Don't Have Time to Read Books
[1:17]to discuss Around the World in 80 Books.
[1:20]Thank you so much for having me.
[1:22]It's my pleasure.
[1:23]First of all, I love the sort of genius inspiration
[1:27]for how you picked these books.
[1:29]And the whole Jules Verne structure of it,
[1:32]how it started in COVID, how you started it online
[1:35]and how you brought it to be this book in book form as well.
[1:39]So I was hoping you could just quickly touch on that.
[1:41]And then I would love to maybe delve into a couple of the places
[1:44]that you visited that I found particularly interesting.
[1:46]Absolutely.
[1:47]Okay.
[1:48]Yes.
[1:49]So I'd had this idea a few years ago to do a book for a general audience
[1:53]about World Literature, which I've written about a lot
[1:56]and taught for academic circles, but thinking how to bring a wider audience
[2:01]to the excitement of all of the great works we have now.
[2:04]It seemed to me that the narrative thread would be this going around
[2:08]the world in 80 books.
[2:09]It seemed about the bright volume of number of books to look at.
[2:12]And sort of the idea then crystallized with COVID that since I couldn't
[2:17]have thought I'd do the book as a connected to a series of places
[2:22]I've been and was going to.
[2:23]But then all these conferences got canceled Tokyo and Europe around the world.
[2:27]So I thought, well, I can't do it after all.
[2:29]But then I thought, well, I have the books.
[2:31]And so I can go around the world with these books.
[2:33]So then I organize it as 16 chapters, which in the summer before last
[2:38]was 16 weeks, five books a day, five days a week,
[2:41]and five, one book per day, if it is a week, leaving the weekends
[2:45]free to have a kind of fiction of some break in this time.
[2:48]It was all falling in and out of self.
[2:50]And it was quite an experience doing it in that very concentrated way.
[2:54]The challenge not just to write 1500 words a day,
[2:57]but every day a different book to shift gears.
[3:00]But it also meant that everything was there in my mind at the same time.
[3:04]And it really made it much more connected and much more conversational
[3:08]in the blog form that that certainly the book is still there.
[3:12]But having these interactions with readers around the world.
[3:16]And it changed the shape of the book.
[3:18]For example, remember enough to go over isn't the book.
[3:20]He wasn't going to be there.
[3:21]But then one of my followers in Delhi said, how can you come to India?
[3:25]Not at the car.
[3:26]So we have to go.
[3:29]Well, I think calling it like even derivative of a blog is it makes
[3:35]it seem less academic or less.
[3:37]I mean, it's so polished.
[3:39]I felt, you know, it's been a while since I've been in school.
[3:41]And I miss school.
[3:42]I loved school.
[3:43]So this book made me feel like I took this mini course.
[3:46]Like you're very accessible in the way you write.
[3:49]Like you're your tone.
[3:51]And it's not so heavy handed that you feel like you can't understand
[3:54]even if you're just, you know, in the midst of busy life.
[3:57]And yet it's this new academic and yet I don't know.
[4:02]Just very fresh approach to analyzing literature, I guess is what I'm trying to say.
[4:07]But not very well, obviously this morning.
[4:09]Anyway, all to say I got through this and I was like, I feel like I just took a
[4:13]class and I didn't have to go anywhere.
[4:15]And not only did I take a class, but I got to travel the world and learn a little bit about
[4:19]every place I already thought I knew a little bit about.
[4:21]And so I found it just really amazing and refreshing and have so much respect for
[4:27]you and your whole career to date.
[4:29]And I was like, okay, well, here we go.
[4:31]Time to go class.
[4:32]And I will say that the blog from it was both more conversational,
[4:36]kind of more relaxed, also more visual because online.
[4:40]So I had a lot of illustrations and I convinced we had 80 illustrations,
[4:44]along with 80 books or actually 81 because there's an epilogue about the 81st book.
[4:48]But also having just the half a day to write and the 1500 verse,
[4:54]it made me, it, I had to just decide what's really essential.
[4:58]What did I really want to show what key scene would keep moment,
[5:02]what verses and then what key connections to other works in a chapter and other chapters.
[5:08]So it really focused and also relaxed the book a lot.
[5:12]Interesting.
[5:14]So you start the journey in London and we go.
[5:17]Yes, it really is fog.
[5:18]Of course, in round of roll.
[5:20]And it is.
[5:21]And you have to come back at the end just by the very last day.
[5:23]And he makes it around the world in 80 days.
[5:26]He thinks he's missed it by a day because, I guess,
[5:29]well, he's delayed.
[5:30]But then he discovers because the international date line he's gained a day.
[5:33]And it comes in 845 in the evening five, five minutes before he promised to be back.
[5:39]And so on the 80th day, I actually post my last posting at that time of day,
[5:43]Greenwich mean time that that's a match that is his model.
[5:47]Wow.
[5:48]You don't, you don't miss a detail here.
[5:52]You started in London.
[5:54]And then I found some of the chapter about that delves into the Holocaust and your own family history.
[6:02]So when chapter three is crack out after Auschwitz.
[6:05]So tell listeners a little bit about your,
[6:08]now is it your great great grandfather, your great great grandfatherly,
[6:12]you pulled damage and his violin career.
[6:15]And then all of these amazing authors.
[6:18]I mean, I learned more about prima levy here than I had known.
[6:21]Okay.
[6:22]Anyway, all right.
[6:23]Tell, let's one thing at a time.
[6:24]I'm very excited if you can't tell.
[6:26]Talk about your own family history and how you almost as you so profoundly say in the book.
[6:33]You know, we almost weren't having this conversation today.
[6:35]Had your family not left where they were.
[6:37]Yeah.
[6:38]It was one of the things that emerged increasing as a book went on is I decided it's rather.
[6:43]It's a very personal book.
[6:44]It's probably kind of a memoir of a life of reading.
[6:47]But also I wanted to just use examples of how literature feeds into our own lives and how it's reflected.
[6:54]How we read is reflected by what's going on in our life. What's happened in our lives.
[6:58]And personal history, family histories came in.
[7:01]And I so I started with very upbeat chapters in London and Paris by a night.
[7:07]The Paris chapter each one leads into the next.
[7:09]So the last Paris book is George Parak, the son of Polish immigrants who died in World War two and he's trying to reconstruct that.
[7:16]So then we go to Karkov and one of my followers on the blog said oh so dark so soon.
[7:22]But it actually was important to think that literature is both uplifting and invigorating and and deals with the traumas of life.
[7:29]And we connect to the struggles we've gone through or we know people gone through our families are gone through.
[7:35]So in the case of a polandow is giving a talk as a Conrad festival there and my great great grandfather had was this German Jewish musician.
[7:46]And what was then German territory in the he's born in 1832 he leaves in 1850 to go to medical school in Berlin.
[7:54]He's a good son he's going to do proper profession like his dad wants him to do, but then he really wants to be a violinist.
[8:00]Finishes a medical degree and doesn't do another thing that medicine becomes a violinist becomes a Franz list first violinist list was the godfather from a great grandfather Franz junior Frank as he became in the US.
[8:12]But, but then he's kind of a glass ceiling he feels you're not getting when I was career and any moods in that space.
[8:18]So I'm going back for the first time in Poland and I have my hosts are take me to around and pose not over it grown up.
[8:27]In the case of either we're still they found the gymnastian records the high school records for the addresses and you could see where it lived went to these places they were still there.
[8:36]And I was saying, boy, gee wouldn't it be nice the beautiful old towns, Posey never left.
[8:40]Of course, I know that generations later we've been a whole different family, but my own father was named Leopold after this first and Leopold so I was imagining, suppose I've been there reading Conrad in Polish translation,
[8:52]but then after Posey, my host drive me on to Krakow and on the way to St. Town become to the sign for Auschwitz.
[9:00]I thought we'd never left that's where it would have been.
[9:03]And that then leads into the discussion of these Holocaust based things and also these fantastic Nobel Prize winner Poachos Lemilosh who's like him back in his own past and memory and survival and making it all into a book into art.
[9:19]Beautiful. I actually love how you how you brought in your own family history, even your trips with your wife Lori.
[9:25]I think I think it's just like such a great character in this book.
[9:28]It just like pops in and out so I love how you wrote about it.
[9:32]And our three kids each one makes an appearance across the book.
[9:37]So we were very simple that got it.
[9:38]Mom said trouble finding dad's also trouble finding time.
[9:41]I'm not sure I must say.
[9:43]I have thought about starting a dad's podcast as well, but I just haven't gotten there yet.
[9:47]I've been trying to get my husband to do it.
[9:50]But he doesn't have time.
[9:52]He doesn't have time, yeah, exactly.
[9:54]I think he'd rather do a sports podcast than a book podcast, but that's okay.
[9:59]Yeah.
[10:00]Well, anyway, the way you trace through these authors
[10:02]through Kafka and antisemitism
[10:04]and the cultural political trends in Europe
[10:06]and everything that was going on
[10:08]and the poems that you included here.
[10:11]We're just, I mean, even, can I just read one of these poems?
[10:14]This is by Yupranaz at Chaylan, Chaylan.
[10:17]Is it Chaylan or Chaylan if you use a Romanian pronunciation
[10:21]or a German pronunciation?
[10:22]I'm gonna go Chaylan, because I don't know
[10:24]I have German roots somewhere, okay.
[10:26]Black milk of daybreak, we drink it at evening.
[10:28]We drink it at midday and morning.
[10:31]We drink it at night.
[10:32]We drink and we drink.
[10:33]We shovel a grave in the air where you won't lie to cramped.
[10:38]And then it ends with death, a master in Germany, shooting a woman.
[10:41]He shoots you with shot made of lead shoots, you level, and true.
[10:45]A man lives in the house, your goldeness heart, Margaret.
[10:49]He loses his hands on us, grants us a grave in the air.
[10:52]He plays with his vipers and daydreams,
[10:54]Dertod isst ein, mister oss, dorch, dorch.
[10:59]Right, right.
[11:00]Okay, well maybe I shouldn't have read that.
[11:02]But anyway, these beautiful poems.
[11:04]And then it goes to shorter and shorter
[11:06]and you sort of track the evolution of Chaylan's writing
[11:10]as it becomes more sparse until his eventual depression
[11:14]and hospitalization before suicide at age 50, which is awful.
[11:18]The show far place deep in the glowing text void
[11:21]at torch height in the time hole.
[11:24]Here deep in with your mouth.
[11:26]I mean, these are, they're chilling.
[11:28]These passages are seriously just chilling.
[11:32]Like how do you feel going through them again?
[11:34]And how did you even figure out which little pieces to pick
[11:38]and include and move us with?
[11:42]That's interesting, was challenging for me
[11:44]because it's much more used to spending having 50 pages
[11:48]to talk about an author and a chapter
[11:50]or an hour or three hours in a classroom.
[11:53]And now just 1,500 words, 1,600 words,
[11:56]equivalent of five pages, 10 minutes.
[11:58]It really enforces they get to what really matters the most.
[12:00]That poem that you read by Chaylan
[12:02]is probably his most famous, his single most famous poem
[12:05]and it relates to these themes.
[12:07]And then I'm finding these all connect up.
[12:09]A lot of the pleasure during the book was finding things
[12:12]at unexpected connections back and forth.
[12:16]So I'm referring to somebody else.
[12:17]I thought, oh wait a minute, for general,
[12:18]if I remember she wrote some essay on Dickens,
[12:20]I hadn't looked at it in years.
[12:22]And then I find this fantastic interesting essay on Dickens
[12:25]that makes a connection like that.
[12:27]So those things that will really work
[12:29]or with proofs, but I found that I loved in teaching
[12:32]with the famous episode of the Petite Madeleine.
[12:34]They dip a little beautiful cookie
[12:36]and it makes this whole mythology around it.
[12:39]It's feminine, it's moist, it's round.
[12:42]It's like a seashell, it's like the town
[12:44]he lives in all of these things.
[12:45]But the original version of first wrote,
[12:47]it's just by the biographical, it's a piece of toast.
[12:50]I think no one happens when a piece of toast
[12:51]becomes a bit of fun other than.
[12:53]So it seems to me like a moment like that
[12:56]just gives you the essence of a writer
[12:58]and an haven't had of an experience.
[13:00]Well, yes, I remember reading about the Madeleine
[13:04]and in college doing my literature classes.
[13:06]And anyway, I think of that of course,
[13:08]whatever, now in a cup of coffee at a nice restaurant
[13:11]where they sometimes had these little things.
[13:13]So anyway, so then you continue taking us through the world
[13:18]all through Mexico, Beijing, Bar Harbor.
[13:21]And then I was very excited to get to the New York chapter,
[13:23]which is where I am right now.
[13:25]And to hear about Sal Steinberg and how you analyze the drawings
[13:30]and back to what you were saying about the visual.
[13:32]And in James Baldwin and how he went back to Paris
[13:35]and his writing and Tolkien.
[13:38]And I mean, this is such a full robust experience.
[13:43]So take us through a little bit, through New York.
[13:47]Yes, so my last chapter is in New York.
[13:49]My next last chapter is I mentioned Bar Harbor Main,
[13:52]which I was born.
[13:53]And I thought once by the end of the book,
[13:56]people get to know me a little bit
[13:58]and bring the personal out a bit more.
[14:00]So and in Maine, it's my first
[14:03]accounted with literature as a kid.
[14:05]And to me, it's very important
[14:06]that what we read as children sets the whole tone for us.
[14:09]And certainly anyone who's read to their own kids
[14:12]and indeed read the entire Lord of the Rings
[14:14]that to our kids when they were little
[14:16]and very meaningful moving experience
[14:18]for, I would say, for all of us.
[14:19]And with New York, so we moved there when I was 10
[14:23]and my last since was there.
[14:24]And this one I first met actual professional writers
[14:27]by the lingo as a prisoner of my father's
[14:29]and his church and she just published during the time
[14:32]and sort of encountering these people
[14:35]in both Steinberg and also Saul Bellow.
[14:36]I met through a high school English teacher of mine
[14:39]in New them both.
[14:40]And she becomes a kind of a fairy tale donor figure
[14:42]in the course of the book.
[14:44]And you know, it's describing this cosmopolitan world
[14:47]and discovering the world in New York
[14:49]and how many it's a migrant world of course.
[14:52]I myself come to New York from, from away, as we say,
[14:56]in Maine, from away, meaning anywhere off matters at all.
[14:59]And sort of coming to a sense of this world.
[15:02]Then I end with Tolkien to, as the way to come back
[15:05]to England at the very end, following Philia's fog
[15:09]and Tolkien to me as a fantastically interesting writer
[15:12]it was so important to me as I probably read it 10 times
[15:14]as a teenager, but I teach him now.
[15:16]I teach him very differently as the last
[15:19]of the great World War I poets,
[15:21]which might not be how I want to think of him,
[15:23]but he was in the trenches and World War I
[15:24]and almost all of his friends died.
[15:26]He just was lucky, he was wounded
[15:28]and then he lived back back out.
[15:30]So these kinds of experience
[15:31]and how they figure into this fantasy world
[15:33]and how reality comes into fantasy
[15:35]is sort of the very epitome of the book as a whole.
[15:38]And you applied that also to metal and lingo
[15:41]and how she had this very isolated childhood
[15:43]and how she kept trying to write about it
[15:45]and getting rejected, which I didn't even know that story.
[15:48]Can't hold you, yeah.
[15:49]Yeah, selling and selling until finally
[15:51]she writes this fantasy and that sells
[15:54]and how she says that kids understand some of these things
[15:58]way faster and you have this whole diagram
[16:00]and that you don't need to over explain it, right?
[16:03]Like kids pick up on fantasy immediately,
[16:06]which I also found fascinating
[16:07]because of course she becomes, I don't know,
[16:09]one of the greats of all time.
[16:11]Anyway.
[16:11]Exactly.
[16:12]No one, I think that's, I mean, I think probably,
[16:15]I think we should all remain in close touch
[16:17]with our childhood selves
[16:18]and that sense of adventure and exploration
[16:21]is so important.
[16:22]And this book is a very childlike book
[16:25]in that respect, just the pleasure of discovery.
[16:28]Funny, I wrote this memoir that's coming out in July
[16:30]called Bookends, a memoir of Love, Lost and Literature.
[16:33]And in it, I go through like 200 books, 200 plus books
[16:36]that for me were important
[16:38]because whenever I think of a moment,
[16:42]happy, sad, whatever, like I know what I was reading
[16:45]and where I was and which book meant a lot to me
[16:47]and some of it's just random
[16:49]and I just happen to be reading it at the time
[16:50]but it will forever be etched in my memory with that time.
[16:53]So mine was far less academic, far less intellectual
[16:57]but still a journey of a life through books
[17:00]because books for so many of us are so essential
[17:04]that there are companions as we go through life
[17:07]and that's why I particularly appreciated
[17:09]this sort of deep dive into your reading world.
[17:12]And even though it's much more highbrow literary.
[17:16]I have to know I also have detective stories
[17:19]that several of them don't at León and Venice
[17:21]and Chora-Mishan in Israel Sherlock Holmes.
[17:24]It's as much a part of our experience of literature
[17:27]as anything else.
[17:29]And I'm interested in this,
[17:30]in this very fluid boundary between the AD
[17:33]to the popular Orhan Pama because one of my 80 authors
[17:37]he deliberately modeled a lot of his books
[17:38]and detective stories
[17:39]because that's the way to reach no real audience.
[17:42]Very true.
[17:43]And so when you read for fun,
[17:46]like when you're not analyzing or doing this type
[17:51]of investigation and analysis and whatever,
[17:54]what do you like to read?
[17:56]Like what do you reading tonight when you go,
[17:57]like when do you read?
[17:59]Like do you read before bed
[18:00]or like what's your pleasure reading schedule like?
[18:02]Usually usually at night I'm reading a Dutch novel.
[18:07]Now that was just sent to me,
[18:08]there's a great press called Archipelago books
[18:11]if you're going to sit in really cool stuff.
[18:13]Archipelago books based in Brooklyn.
[18:15]And they do beautiful little additions of translations
[18:18]of things that you've probably never heard of.
[18:20]They did very well because they picked up
[18:22]on Carl of economics guards.
[18:24]My struggle, they become as American publisher
[18:26]and this has helped float a lot of their other publications.
[18:29]So I'm reading a Dutch novel from mid century
[18:31]called the Guardian Angel Remembers.
[18:33]It's a very ironic satiric thing set at the time
[18:37]of the German invasion of the whole of Netherlands
[18:42]in World War II.
[18:43]And that's for fun.
[18:45]It happens also I'm teaching in a course now
[18:47]in the philosopher and the tyrant
[18:49]which ends up with Hitler and Heidegger and Hannah R.
[18:51]And I would just read another Hitler biography
[18:55]read several.
[18:56]So that was not exactly fun,
[18:58]but absolutely fascinating.
[19:00]And now that this satirical level
[19:02]is a fun way of thinking about these troubled times.
[19:06]You wrote a lot about translation in this book
[19:09]and the merits of reading work in translation
[19:12]and how to do that.
[19:13]Can you talk a little bit about that?
[19:14]No, when I was growing up in the pre-modern era
[19:17]as I stood in the seventies in my field of comparative literature
[19:20]you were supposed to use translation.
[19:21]You're supposed to just learn languages
[19:23]and only read in the original, which is a great idea,
[19:26]but it means you can't read very many works
[19:29]around the world.
[19:30]And I certainly spent more than my share of time studying
[19:34]the dozen or so languages,
[19:35]but there's a lot more languages out there
[19:37]than those few like I've never studied Dutch, for example.
[19:40]And I got to never read any Dutch literature
[19:41]because I haven't had the time to said Dutch well no.
[19:44]And it didn't stop Shakespeare from reading virtual
[19:47]and Homer and learning a lot from them
[19:49]or Derek Walcott from reading Homer
[19:51]and virtual and Dante in translation.
[19:53]We're in a golden age of translation right now.
[19:56]There's so many good translation
[19:57]being brought out translations and re-translations.
[20:00]of so many books, a tale of Genji, the great Hayan masterpiece member of Sake Shibu,
[20:04]has now had four full translations in English. In the last few decades,
[20:09]each one better than the last. It's an amazing, amazing time.
[20:12]Amazing. Do you have particular translators or one translation that you have
[20:18]or have you ever been tempted with your languages to translate yourself?
[20:23]Well, in fact, there is one of my 80 books. I have just translated fantastic
[20:28]Congolese novel written in French in the seventies. It's called jambatista vico lu vio de dico
[20:34]Africa, jambatista vico or the rape of African discourse. And vico is not the Italian philosopher
[20:41]of a similar name, but he is a kind of self-promoting African intellectual who wants to write the
[20:46]great African novels that he can be invited to conferences in Paris and Rome. And this hilarious
[20:51]academic satire, basically, of this. And it's very complicated. I mean, it's a cultural situation,
[20:58]and it's a satire on the mobile to regime, and it's slightly into skies, because she's
[21:03]going to quite say that openly. But it was never translated, published in 1975. It didn't really
[21:08]serve anybody's interests, because it was satirizing both the Westernizers and the Afro-centric
[21:13]and the politics. And about 15 years ago, I was saying, well, world literature will really have
[21:17]grown up when a work like this can be translated and written. So I decided to finish
[21:21]put my timer, my mouth is, and I translated. It's just coming out next month, and they do a language
[21:27]edition, so it'll be available in French and in English. But translations have been very important.
[21:32]I have only read Tevaganji in translations. I don't read Japanese. And even in French, let's say,
[21:39]Moncrae's translation approved is amazingly good. And I've taught, taught it in French,
[21:44]and I teach it in English. And I'm in a way as happy with English translation. It's just beautiful.
[21:50]And Moncrae has a feel for the flow of those sentences. And that's what matters so much.
[21:55]Is there anything you look for in a student? I know you've been teaching a long time.
[22:00]What is there a student? Is there some spark or something that you see in a student? And you're like,
[22:07]this is why I do this, something like that. Have you had an experience like that?
[22:12]Oh, that's a great pleasure of teaching for sure, is finding those students.
[22:17]And students with just an open-ended curiosity, and I'm particularly happy to find students
[22:22]just have an ear for language. I think there's lots of academics who go into literature because
[22:29]well, I don't know, it didn't work out for them in philosophy or sociology. And they're interested
[22:34]in great ideas and ideas are wonderful. But in literature, what brings it to life is the music
[22:39]of the language. And this may be because I have these music answers, but to me,
[22:44]as someone who hasn't here is the single most important thing.
[22:48]Interesting. That's beautiful. Do you have any advice for aspiring authors?
[22:54]I took as a high school student, a couple of writing courses from Medlengal,
[22:58]who was a parent in our school, our little program school in the upper west side. And she was
[23:03]really emphasizing, always involve all the senses, really pay attention to how things are
[23:09]smelling and how things are sounding and to touch. I thought that was very good advice.
[23:16]And I think also, I mean, I'm not so much the one that says write what you know, which is often
[23:22]said because I'm also interested in, say, Tolkien. He never, never met Hobbit. He didn't know what
[23:29]Hobbit was. When he just comes up, he's creating a term paper and he writes in the margins,
[23:35]in a whole new ground to live to Hobbit. I said, no, why did I write that? Why does it
[23:38]Hobbit? Right. Now, of course, he is also writing what he knows because of Hobbits,
[23:42]he's like little Englishman. And it's his world, but it's also this whole other world.
[23:46]And so I myself think that maybe too much American literature has been rather
[23:51]parochial and written just to satisfy Iowa writing school kind of in red curriculum.
[23:58]And that's very nice. Now, as how open we're becoming to the wider world,
[24:02]if it could destroy its published in the New Yorker, at least half of them are translated from
[24:06]all over the world. I think this is a wonderful thing. So I think just reading, following your
[24:11]nose, reading was most exciting to you and thinking, okay, now I could do something like that,
[24:16]but how do I want to do it differently? Amazing. Thank you so much. Thank you for your wonderful
[24:22]book for the tour of the world. And for talking a little bit more about it to me today. So thank you.
[24:29]Pleasure. Thank you. I look for a deer book. Thank you. Okay. Take care. Bye-bye.
[24:35]Thanks for listening to this episode of Moms Don't Have Time to Read Books.
[24:39]Don't forget to follow me on Instagram at zibbowens and at Moms Don't Have Time to Read Books.
[24:44]Also sign up for my newsletter at zibbowens.com and sign up for my virtual book club and meet lots
[24:49]of authors on Zoom every other week. Thanks so much to Steve and Ryan in fact, Texture Sound
[24:53]for the Sound Editing. And thank you to Morning Moon Productions for providing this fantastic
[24:58]intro and outro music.