Lynn Steger Strong, FLIGHT: A Novel
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[0:54]Lynn Stegerstrung is the author of Flight, a novel. She was previously on this podcast for her novel, Want.
[1:05]Lynn is also the author of Hold Still. Her nonfiction has appeared in The New York Times,
[1:09]Time, Harper's Bazaar, The Less Angelist Times, The Paris Review, The Cut, New York Magazine, and Elsewhere.
[1:15]She teaches writing a catapult in Columbia University.
[1:18]Welcome, Lynn. Thank you so much for coming back on mom's and our time to read books to discuss
[1:23]Flight, a novel.
[1:24]Thank you so much for having me.
[1:26]That's I'm always thrilled to talk to you.
[1:29]So your novel was so good, so good.
[1:32]The way you write is so beautiful. The characters you developed, even the pacing of it,
[1:37]it's just so the sentiment, I don't know, meaningful and engaging and thought-provoking.
[1:44]I don't know, all the good things the books have made, because it's very, very nice.
[1:49]Thank you. Thank you.
[1:51]Can you tell us the nerves? What?
[1:53]It's about.
[1:54]What is about?
[1:55]Oh, sorry. I don't know. I don't know why I even ask everybody this.
[1:59]I should just summarize it myself and be like, here's what I think your book's about.
[2:02]Yeah, no, it's funny. It's funny. I feel like I've been sort of about question is tricky.
[2:08]I mean, you know, it's on the one hand, it's a family. It's a family. It's a family.
[2:16]It's the first Christmas since their matriarch died three siblings and their spouses
[2:22]and their children. And there's also another family sort of on the outskirts of this family,
[2:27]a mother and her daughter. And I guess maybe it's worth saying that something that I'm interested
[2:32]in as a writer always is just kind of the elasticity of terms and language and our sense of things.
[2:38]And I think the word that one of the words that was kind of top of mind was just the word family
[2:44]and how it means different things to different people. And because it means different things
[2:49]to different people, when those different people try to inhabit it together, it can be tricky.
[2:55]And so I think in lots of different ways, which each of the characters, they're kind of grappling
[3:01]with their relationship to that word. And maybe another a few other words that I was interested
[3:07]in the last deciding were grief and shame. I think I'm always kind of thinking a lot about
[3:14]shame and all of these characters, especially the women are kind of dealing with their own
[3:18]specific secret shame. And I think a lot of times shame is built in with fear, which again,
[3:25]I think it's something I was really interested in. And I think I was particularly interested in
[3:29]the way that the women's shame and fear kept them from being able to care for one another
[3:36]and maybe over the course of the book, some of them got knocked down a little bit. So yeah,
[3:41]I don't know if that's like good. I feel like I feel like even some of the men though had shame.
[3:46]Oh yeah. Especially, um, is it Malcolm the kid's name? I get all that. Martin Martin. Yeah.
[3:52]Yeah, Martin who, by the way, I don't know if you've read Signal Fires by Danny Shapiro,
[3:58]but she has a character in that book who I feel like would be really good friends with this guy,
[4:03]Martin. I feel like you should like do a like an essay where the two of them meet. I can't
[4:08]remember his name either, Striker or something, only a last name. Anyway, it doesn't matter. But like
[4:12]he's so harsh on with his son, his special needs son. And then he regrets it and then it causes
[4:20]all sorts of trouble and he can't control himself. It's always really fun to read when like
[4:27]you just see someone at their worst. Yeah. Yeah. No, I mean, I think it's a great,
[4:33]it's a great point because I was, I was at one point there was a draft of this novel that had
[4:37]a head, I had all these headers when I was starting because there's, it moves points of view
[4:42]and that was sort of a new thing that I was doing. And it doesn't move, it doesn't, it doesn't
[4:47]get inside of the men as much. But then in sort of the middleish of the book, I had this section
[4:52]called the men. And it was like, okay, let's try this. And you know, I'm kind of the opinion that
[4:59]all of us are much more alike than we are different. And actually it's often our likeness is that's
[5:06]the hardest thing for us to do. Right. It's like the reason that often I think maybe our mothers drive
[5:11]us crazy is because we see that thing that lives in us too. And it also lives in them. And it's so
[5:17]horrifying. You know, when you have to see it embodied and someone else. And yeah, so yeah, I think
[5:23]I think I was really interested in trying to similarly spend time with the men and think, I mean,
[5:29]I think another example is character Josh who in some ways is, is difficulty gets on a lot of
[5:37]people's nerves. But I think also is sort of self-aware enough and uncomfortable enough with his
[5:44]own version of shame. I think he has a bit of shame around the idea that like he's never really had
[5:51]to work to support himself. He's worked and he's never really fully understood the concrete
[5:58]fact of money. And I think that sort of gets on other people's nerves. But I was interested
[6:04]also in giving him the space to say, yeah, I know. I know. And that in that has some shame inside
[6:12]of it too. And what happened at the school too. And the river about that with the young girl and
[6:18]you know, venting and whatever. Anyway, yeah. So I was just here to just prove your point of
[6:24]your hope. Yeah, that's good. I'm glad. I'm glad. Yeah. You had so many great lines and I just wanted
[6:32]to read this one about marriage. Well, actually, I'm sorry, this is a passage about mothers.
[6:39]Your book centers on the recent loss of a mother figure, who sometimes has contentious
[6:44]relationships. So you have, you have, I'll start off here. Alice grabs hold of her phone to check
[6:49]again for text from Maddie. But instead there's an email from her mom confirming flights, a final
[6:53]plea to have the privilege of seeing Henry too. I love her mom. Oh my gosh, she would like to give
[6:59]somebody I know. She has what she figures is a much more normal relationship with her with her
[7:03]her mother. She calls her once a month. They text, they send cards on birthdays, ask the same boring
[7:09]questions about their jobs. Mostly they resent each other from a comfortable enough distance that
[7:13]they might call it love. I love that. Thanks. Thanks. That's, I feel like you have this relationship
[7:21]as a foil, right? They were all so close to their mom and this one family and this mom Hellen
[7:26]seems just like the greatest, so warm and loving. And then you have the passive aggressive other
[7:32]mom sort of as a contrast. Tell me about that and how you like assembled all the different in-laws.
[7:39]Yeah. I mean, I think something I'm kind of always interested in, especially in this book,
[7:43]is sort of gradations of our hauntings, right? So if it was, so we have Hellen, I mean, on the one
[7:51]hand, I've never before written a book in which I had such a lovely mother. You know, so that was
[7:56]very fun. But, but we have Hellen, but I think in a lot of ways, Hellen being a wonderful model
[8:03]for motherhood and for family is haunting these characters in a way that feels just as heavy
[8:09]and complicated as if one had a difficult or lacked a mother, right? Like the, so I think the
[8:15]thing that I was interested in is that like the places that we come from, the people that we come
[8:20]from haunt us regardless. And so, how and why does that feel different, taste different, look
[8:29]different, but still feel just as heavy depending on the person, right? So I think with each with
[8:35]each character sort of like, okay, so we have Hellen as a starting point and also within Hellen,
[8:41]each child is sort of constellated in terms of the ways that her parenthood has haunts them
[8:47]differently, right? It haunts the oldest son very differently than it haunts the baby daughter,
[8:52]very differently than it haunts the artist. Middle child, I say, as the artist, middle child.
[9:00]We have siblings, right? Or the siblings spouses, all of whom have different parents, you know,
[9:06]of maybe varying levels and perhaps one would say lesser levels of, of loving or doting or
[9:13]caring, right? And so I think it was important. I think one other thing I was thinking a lot about,
[9:18]and I honestly this sort of also came about during the period of COVID is how very different,
[9:23]I think that loss is from lack, right? So, so tests, for instance, sort of doesn't have much in the
[9:31]way of a relationship with her parents. And she feels like she's really been able to make her piece
[9:37]with that in some ways. And so she thought that she would be prepared for this loss,
[9:42]but the thing that she's grappling with is that actually losing someone you love is very
[9:47]different than never having somebody. And I think what was useful to me and interesting to me
[9:53]about thinking about that is that grief is horrible and difficult. But it is
[10:00]also another gift that the person that you love gave gives you,
[10:05]because you still get to carry them with you.
[10:07]All the things that they gave to you
[10:09]used to hold inside of your body.
[10:11]And it still feels like that sort of secret special thing
[10:14]that they gave you.
[10:15]And so I think like letting myself think about these things
[10:20]in gradations also let me see the sort of surprising
[10:25]or less sad aspects of each of them, right?
[10:30]Was it the mother relationship?
[10:31]Was it these types of relationships
[10:33]that made you even want to do this book?
[10:35]Like where did this book come from?
[10:36]What place in you?
[10:38]I mean, I think it actually started,
[10:40]I'm always interested with books
[10:42]and sort of throwing the ball a little further
[10:46]in the book than I've been in life.
[10:48]And I think the thing that I knew from the beginning
[10:51]of this book was the ending.
[10:53]And I knew that I wanted the characters.
[10:57]And I can't even say this aloud,
[10:58]which speaks to how it was a challenge.
[11:01]I was interested in creating a sort of shared moment
[11:05]of grace.
[11:07]And I wasn't sure if that was something
[11:10]I even could believe in, you know, I wasn't.
[11:14]But I felt important to try.
[11:17]And so the book, and it also felt important,
[11:19]like the other place that I think this book started
[11:22]was just the space of the intractability
[11:27]of petty grievances,
[11:29]especially among family members, right?
[11:32]So if I started with the end
[11:36]and the end being a shared moment of grace,
[11:38]I think I also started at the beginning
[11:41]and at the beginning is I wanted to be this feeling
[11:44]of sort of everybody just sort of itching for a fight.
[11:48]You know, so if you start with everybody itching for a fight,
[11:50]how do you get them through?
[11:52]How do you sort of, you know, crack them open
[11:55]and break everything apart and then reorder them
[11:58]in some way by the end so that they can,
[12:01]they can share something that feels real well.
[12:07]I feel like when you talked about Kate
[12:09]really wanting to live in her mom's house,
[12:11]that was one of the most sort of,
[12:14]because yes, she wants to do it for financial reasons,
[12:17]but you could feel like the attachment
[12:20]and her like desperation to cling on
[12:22]to just a little bit of her mom
[12:25]and that little bit of her as a daughter
[12:28]and have it just go up and smoke,
[12:29]at least in the first conversation.
[12:31]I don't know.
[12:32]It's so sad for him.
[12:34]Yeah, yeah, no one, and it's so,
[12:36]it's so, I mean, I think this idea of like fairness
[12:42]or what we deserve,
[12:44]I find endlessly narratively fascinating
[12:47]because both of those words feel totally made up to me, right?
[12:51]Like who deserves any, you know, like,
[12:53]if you start to use the word deserve
[12:55]and then you look around the world real quickly,
[12:57]that word becomes a real problem, right?
[12:59]Like I take a lot of issue with that word in general
[13:04]and yet I also understand why people latch onto it, you know?
[13:08]And so I think again, like so much of what's exciting
[13:11]to me about writing books comes from inhabiting these words
[13:14]that are so much more complicated and high stakes
[13:20]and sort of, you know, dangerous,
[13:24]I think sometimes then we acknowledge, you know?
[13:28]So she wants to believe that she can convince her brothers
[13:33]that she deserves this but like who deserves a free house
[13:36]but also why not?
[13:37]You know, like it's just, so then it's,
[13:40]it's narratively interesting.
[13:42]Totally, yeah, but I love that.
[13:45]There was another passage too.
[13:47]I hope I can find it.
[13:48]Yeah, this is another one that was great.
[13:51]So I was fascinated by Alice who is the daughter-in-law,
[13:55]Helen's daughter-in-law.
[13:57]Sorry, I would keep trying to explain this
[13:58]and I'm so bad with names and everything.
[14:00]But she ended up not having any kids with Henry
[14:03]and I just, there was just something so great about this
[14:06]and I mean, the fact that she could take a long hot shower
[14:08]in this very crowded house.
[14:09]I was like, yeah, jealous of her.
[14:11]But anyway, let's see, I'll start here.
[14:12]Ellen was the only, is that okay?
[14:13]Can I read a little bit?
[14:14]Yeah, of course.
[14:15]What Alice wanted was someone to prove it to her,
[14:17]prove something irrevocable about her.
[14:19]Say it in such a way that she could feel sure
[14:21]they would not take it back.
[14:23]Helen, the mom was the only one she might have trusted
[14:26]and rechemed to want her too unthinkingly
[14:28]to see how wanting wasn't loving.
[14:30]With every man who'd ever wanted her
[14:32]and called it love, she'd felt like this.
[14:34]This was true too in its way of how her mother loved her,
[14:37]preconditioned.
[14:38]The baby was something both Henry and her mother
[14:40]wanted that she couldn't give.
[14:41]Henry said he didn't.
[14:42]It was her choice, but she knew better.
[14:43]She thought maybe her body couldn't hold a baby
[14:46]because it understood she'd never really learned
[14:48]to love another person.
[14:49]Maybe also, this was why her art failed.
[14:51]She'd not been shown or taught enough about just loving
[14:54]without first appealing or performing.
[14:56]This was her body's way of keeping all her future
[14:58]children safe.
[14:59]And then when she stopped working
[15:01]and then with her new job
[15:02]and all the ways it shocked her scared her
[15:04]made her feel inadequate and helpless too,
[15:06]she'd never picked up the phone and called Helen,
[15:08]not with the art or the babies or with the babies.
[15:11]Not this past year when her job got murky.
[15:13]It's a particular type of sad she thinks
[15:15]to miss the possibility that she might one day
[15:18]call this person who was gone now,
[15:20]that what she lost was a thing she never had the courage
[15:22]to go get.
[15:24]Oh, that was so good.
[15:27]Talk to me about that and like the sadness
[15:30]of that lack of relationship and her,
[15:32]the feeling of feeling like she should have had kids
[15:35]and wasn't really a huge loss and did she wanted
[15:38]and all that ambivalence that comes around that.
[15:41]Yeah, I mean, I think, you know,
[15:42]another thing that this book I think is about
[15:45]is just middle age,
[15:47]the weird murky space of middle age, right?
[15:50]And it's like maybe prior to a certain age
[15:53]or a certain time in one's life,
[15:55]so much is built around the idea that there is still more.
[16:01]Right, like there's still more time,
[16:03]there's still more possibilities,
[16:04]there's still more opportunities,
[16:05]there's still, okay, so you make this change,
[16:07]maybe you can take it back, you know?
[16:09]And I think this is sort of Alice did not,
[16:13]because I think another thing
[16:14]that this book is really interested in is like,
[16:17]we talk in this way about choices
[16:21]as if life lived a lot in choices,
[16:24]but I think often life lives in the absence
[16:27]of making choices, right?
[16:29]And so these people in this book,
[16:31]there's a moment kind of later in the book
[16:33]where Martin says like, why don't people change their lives
[16:36]more often?
[16:37]And he's sitting there kind of ruminating on it
[16:39]and in the process of him ruminating on it,
[16:42]he realizes his wife had to go
[16:43]because his kids needed her, you know?
[16:47]And that was sort of, I sort of chuckled
[16:49]to myself as I wrote, because I think it's really,
[16:52]it's so much of a certain age where it's like,
[16:55]yeah, but like you don't have taught,
[16:57]you don't, right?
[16:58]The kids are calling you.
[16:59]So like you could be wanting to,
[17:01]or your life is calling you,
[17:02]or your passive aggressive mother is calling you
[17:04]instead of the mother you wanna call.
[17:06]You know, so there's, I think just,
[17:08]I mean, I both kind of am annoyed
[17:10]by the concept of busyness and also really get it, right?
[17:13]But like, I think a lot of life happens
[17:16]while you're sort of busily not making choices, you know?
[17:21]And I think part of what Alice is realizing maybe
[17:24]is that like, there was a part of her
[17:27]that was looking forward to the choice
[17:31]and now that choice is gone, you know?
[17:33]And again, I think that that's a lot of what sort of
[17:37]middle age is, is realizing that choice is end, you know?
[17:41]Because so much of what you're taught
[17:43]about your 20s and your 30s is that it's the excitement
[17:48]of making these big, high stakes choices.
[17:50]It's the fear of making these big, high stakes choices.
[17:53]But I think maybe the fear, as you get a little bit older
[17:56]is that like, the choices start to close off to you.
[18:01]I don't know, I like totally changed my life at 40.
[18:03]So, yeah.
[18:04]No, I mean, it's true, I mean, it's harder.
[18:07]Yeah, I also think like people, they,
[18:09]not everything closes off.
[18:11]But I do think some things,
[18:12]I think especially like with the older,
[18:16]with sort of the generations above you, you know?
[18:19]Like I do, I will say like one of the impetus
[18:21]for writing this book too is that like I did lose
[18:24]some people I loved over the past couple of years
[18:27]and it was both totally expected.
[18:30]They, they were quite old.
[18:32]I mean, one very, very good friend of mine
[18:34]who my loss was 92.
[18:35]So like I should have seen it coming, doesn't matter.
[18:38]But of course I didn't.
[18:40]And of course actually because she'd been along so long.
[18:43]Like I just, we all just kind of assumed
[18:45]she would outlive us all, you know?
[18:46]Because she just seemed, and I do think that that idea
[18:49]of like, well, you know, not to be too, whatever.
[18:53]But like I'll call her tomorrow or like we'll go see
[18:57]that art together that we plan to see.
[18:59]Like that sort of thing does, you know,
[19:02]like people, bodies change, bodies deteriorate.
[19:05]Like that's a true thing, you know?
[19:08]So I think I was interested in thinking about that.
[19:11]I'm sorry for your recent losses.
[19:13]No, no, it's, it's so kids.
[19:15]Part of being alive.
[19:16]I know, but it still hurts.
[19:18]My grandmother died a year ago, just a year.
[19:23]Maybe to, my gosh, I can't, my brain.
[19:26]But anyway, not that long ago.
[19:27]And she was 97.
[19:30]And I miss her to the point of like tears.
[19:33]Yeah, at least once a week, once a month.
[19:35]Like I think about her all the time.
[19:37]And it's like, it doesn't make it better
[19:39]that obviously you're supposed to die.
[19:41]It's sad that we all have to die to begin with.
[19:43]You know, I mean, yes and no, I mean,
[19:45]because now we appreciate life.
[19:46]But yeah, I don't know.
[19:48]I don't think you, you more and less
[19:50]because someone's older.
[19:51]No, well, and in some ways it's like,
[19:53]I feel like you just get, you have the gift of them
[19:56]for so long, you know what I mean?
[19:58]Like you get, it's in again.
[19:59]It's like.
[20:00]If you if you if you come up and they've just been so solid, I think it's some ways that that loss is just even that much more intense. Yeah. Yeah. It's true.
[20:12]Yeah. What are you? Are you writing a new book now? I am. I am. I am. It's a I'm from Florida.
[20:21]And I have always written about Florida and actually I think like one of the things that flight is about in part is sort of grief around place and not just grief around people and we lived in Florida for a good amount of time during COVID.
[20:38]And so I'm writing a book. I've never written a book holy in Florida in part because Florida is so complicated. I think I never really felt up to it. And I I feel like I feel up to it. And that feels really exciting.
[20:55]And maybe just the one other thing that I've been thinking a lot about is I have this sort of idea about like all books have explosions and it's the writer's job to sort of teach the reader the terms of the explosion. So they feel it's impact.
[21:09]But my kind of directive to myself with this book is that there be an explosion at every at every beat like they're I mean at one point I was like an explosion on every page there probably won't be an explosion on every page, but they'll be an explosion probably every chapter because it's Florida. So they're kind of has to be awesome.
[21:29]I love the way you wrote about Florida in this book, though. I mean it was very complimentary, you know it's like in the fact that you can lose a person from some place and then never go back there.
[21:39]I was actually thinking as as I read this I was like we might not to keep talking with my grandmother, but like she lived in Florida, but she also lived in Dayton, Ohio. And I'm like I wonder if I will ever go back to Dayton, Ohio, even though I've gone there like a million times my entire life. Why would I go back now? I don't know.
[21:54]Yeah, the weird. No, it's such a way. And I do, you know, we'll say like Florida is really complicated, but like, especially we were back we we we stayed with my husband's parents for state my husband's from the same small town in Florida that I'm from and we stayed with his parents during COVID.
[22:11]And you know, I think for for reasons that are perhaps obvious to your listeners, like I don't think I could raise my children there, but I it is a beautiful place.
[22:24]And it is a place that is like so in my bones and the idea that like we got to take our kids to the spoil islands that we used to go to and we were kids and take our kids in like to the very specific bathtub water that is the Florida ocean at very different.
[22:41]In the year and and take them surfing and just like the idea that it's January and we're in the pool, you know, like that sort of.
[22:52]Thing is so much it's so much inside of my body and the idea that it's not in my kids body is like a little bit it's totally fine, but it's a little bit sad and it was so special to give that to them.
[23:03]And I also think it was so great to be reminded of that because I feel like it's so easy for a certain type of person to disparage Florida and I understand why.
[23:12]First of all, Florida is like 75 different places right like it's depending on where you are in Florida it's a very different place, but it's also really magical and special.
[23:22]And so I think like again, I guess I finally feel up to trying to think about all the different versions of this place and all my sort of complicated feelings about this place.
[23:37]I like it.
[23:38]Which part of Florida do you live in?
[23:41]We're from Stewart, I don't know if you it's it's like half an hour north of West Palm Beach.
[23:46]Okay, yeah, Southeast coast yeah that's nice it's so pretty.
[23:51]Yeah, when you wrote this book and you were talking about the beats of the next book, did you plan it out in the same way.
[23:58]Like is that what you do to accomplish this.
[24:02]Yeah, I mean I'm very what's the right way to say it like I'm sort of I'm very interested in beats and structure and sort of patterning and just like to me that's a lot of the fun of writing a book.
[24:16]And so there was a lot of patterning to begin with in terms of the characters.
[24:20]And there was a lot of sort of you know I think a direct if I'd given myself a version of with my last book and then I did a version of with this book is this idea of like perpetrator and victim.
[24:31]And if there were ever a space where I felt like a character was being too much perpetrator or too much victim I had to flip it in some way, because it was important to me that the reader.
[24:41]A word I think about a lot when I'm working is just like choreography and like I didn't want the reader to ever feel like they were too much on one character side.
[24:51]So there was a lot of work and thinking just in terms of like okay we need another beat where test is a little more likable because she's been kind of difficult for a while that you know or like we need a reminder of her humanity in some way, but I also think like movement.
[25:09]Is important to me so you know there's a moment there's a moment at some point in the book where.
[25:16]One of the characters thinks her kid is missing and that sort of a portent of something that'll happen later and I wanted that to come.
[25:25]earlier just to kind of board of set the scene and it's also you know it's important the first line of the book is sort of you left them alone in the apartment it's the sort of accusatory question.
[25:37]And I think generally this idea of like anxiety lives inside of these people anxiety lives inside of this house anxiety lives inside of the world.
[25:47]One of these anxieties is real and valid in which of these anxieties is like misplaced or just sort of like a certain type of person or pathological right like that idea of sort of you know like where's the live anxiety was sort of key to the book and I think I was constantly.
[26:08]using that as a as a thing that the right the reader can track not least because you're not tracking a single character in the way you would in another book you know so you're tracking this kind of jittery feeling.
[26:22]And this sort of uncertainty of like what if this jitteriness is just like being with these people and what if this jitteriness is like reasonable because something scary might be happening.
[26:34]I love you thinking of it in terms of choreography like that just that's such a great image almost like yeah it's so much more visual.
[26:42]Yeah, yeah, like lines of an ice skating rink or something you know like you I don't know yeah yeah no and that's the fun that's why that's why fiction is so fun right like because like that's that's my go to.
[26:55]Never ending note on student fiction is where are we in time and space right because you can if you can get the reader inside of the time and space there's nothing more useful.
[27:07]To you to sort of get them invested right and so then to move all the bodies through time and space you know it's like when is the sister sitting too close to her brother when you know whatever anyways but yeah I think it's just kind of an endlessly useful word.
[27:23]And obviously this book is fiction because you have a middle age couple having sex in the middle of a crowded house for like two minutes.
[27:30]And like I think it'd be totally normal I'm like yeah I haven't.
[27:36]Yeah yeah I don't even think they locked the door yeah right kids around everybody's just like milling about like.
[27:43]Great or power to.
[27:47]Awesome all right well thanks Lynn I can't wait for your explosions in Florida to come and I really enjoyed the book so thanks for chatting about it.
[27:55]Thanks so much for chatting with me and thanks for all the many many things that you do for books it's always always a pleasure to talk to you too.
[28:04]All right okay bye.
[28:07]Thanks for listening to this episode of moms don't have time to read books.
[28:11]Don't forget to follow me on Instagram at zibi Owens and at moms don't have time to read books.
[28:16]Also sign up for my newsletter at zibi Owens.com and sign up for my virtual book club and meet lots of authors on zoom every other week.
[28:23]Thanks so much to Steve and Ryan in fact texture sound for the sound editing.
[28:27]And thank you to Morning Moon Productions for providing this fantastic intro and out trim music.