[ Music ] >> Sponsored by the Institute of Museum and Library Services. >> Courtney Kim: Hi, everyone. And welcome to the National Book Festival. My name is Courtney Kim. And I'm a senior at Richard Montgomery High School in Maryland. >> Brandon Marshall: And I'm Brandon Marshall. I'm a senior at Duke Ellington School of the Arts in Washington D.C. We're excited to be joined today by Jason Reynolds. He's the author of 14 books, including "Look Both Ways: A Tale Told in Ten Blocks," and the forthcoming graphic novel "Stuntboy, in the Meantime," which will be out in November. Jason is also the current National Ambassador for Young People's Literature. >> Courtney Kim: Jason will take some of your questions today. So, it'd be great if you could start thinking about what you'd like to ask him. Please put your questions in the Q&A feature below. We'd also love to know your first name and where you're watching from. So, if you feel comfortable sharing, please include that information in your question as well. Now, before we get started, we'd like to ask you first, Jason, what does your role entail as National Ambassador for Young People's Literature? What have you been up to during your term? >> Jason Reynolds: Hm, what have I been up to? First of all, I want to say, good, let's see, what is it, afternoon. So, yeah, I'm happy you are all here. It's good to see everybody. What does the job entail? You know, what have I been up to? You know, to be completely honest with you, Courtney -- okay, first, I'll tell you what the job is, and then I'll tell you what I've been up to, and how complicated it's been. So, the job itself is basically to be the cheerleader for literature for this country. Right? That's basically what it is in a nutshell. My job is just to encourage everybody to read and write, and to lean into storytelling, to lean into literature, to lean into the literature that exists from the outside of themselves, to lean into the story that exists on the inside of all of us, to connect by using these stories. Right? The most human thing about us all is that we all have a story. And what's even more human is that most of our stories are probably closer -- more closely related than we think. We just don't share them enough. Now, that's sort of the job. And that's sort of the goal of what it is that I'm doing. But I'm also just a human being living through the pandemic. Right? So, because I'm just a person living through the pandemic, I've had to pivot and think about how I can make that job happen, how I can fulfill my responsibilities while doing it digitally. How can I make sure that I'm with the young folks digitally? How can I make sure that they know that I'm there, that I'm rooting for them, and that I'm still pushing what I'm pushing, and trying to foster a love of story. But doing all of that digitally. So, what I'm hoping, moving forward in the next year, that I'll be able to get out there and actually touch the street, and shake a few hands, and have some real human connection with some young folks. 03 >> Courtney Kim: Cool. I think that perfectly defines the role of an ambassador. So, we're really happy to see you active in our world as well. >> Jason Reynolds: Well, I appreciate that. Thank you, Courtney. I'll pay you later, Courtney. I'll cut you your check later on. Thank you for that. >> Brandon Marshall: So, I wanted to ask, so a lot of your books delve into the lives of, you know, young Black kids. And I really wanted to ask, "Can you tell us about the first time you realized that people might see your future differently because of the color of your skin? >> Jason Reynolds: Oof. Good question, man. Gosh, you know what? It's funny. And, Brandon, you're from here, so -- well, both of you are from here. But, Brandon, as a young Black man, you're from here. And I know -- and when we say "from here," by the way, we're talking about the D.C. of the D.C. metropolitan area. And what was tricky for me growing up is that I grew up around all Black people. Right? So, like it's complicated for me. I don't think I really knew that I was different. Different? I was -- I didn't -- I -- because I'm not different. But I don't think I knew that people might treat me differently, until I got to college. Because my life in general had been around -- I was around Black folks my whole life, Black family, Black community, Black neighborhood, Black schools. But when I got to college, I think things became drastically different. I'll tell you -- I'll tell you one of the most obvious ways I noticed was that in my classrooms. You know, thinking about my classrooms, and showing up and realizing that everyone had read things that I hadn't read, and everyone seemed to be enthusiastic about things that I was not enthusiastic about. Because my community and my culture, which is very different, and also recognizing that my college professors did not recognize my culture and the traditions, the literary traditions, or the sociological and anthropological traditions, or any of those things. They didn't recognize them as anything worth studying. Right? Like imagine having like, okay, I've got to take an African American Studies class. Right? Which is a wonderful thing, by the way. But think about the fact that if I don't take this African American Studies class, my culture and my history, which is woven into American history, will never be taught. I never know it. Which is weird, because we were there every step of the way. So, I think looking back on it now, I think college was when I really started to like realize that my experiences were different, that my childhood experiences were different than my roommates, or within my classmates. And that my life was not a life apparently deemed worthy of studying, or thinking about, or intellectualizing, or celebrating, or praising, or something that was high literature, or high art. Even though, to me, it was. And it is. Right? And I think that's the way it was. But I grew up around all Black folks. I didn't even know -- I didn't even -- I didn't know until I knew. You know? >> Brandon Marshall: Thank you. >> Courtney Kim: On a similar note to what Brandon asked, but maybe a little broader, I also noticed that, as I read more of your interviews and your books, it becomes clear that we're a big, loving advocate for children and teens. And as a teen who is nearing her 20s myself, too, I was really eager to ask you, "What does youth mean to you?" And feel free to take any direction with this question. I would love to know like what's the magic that draws you into children. How did you view children first, when you were a child, versus now that you're an adult, and accomplished author writing to children? So, what does -- like what does childhood mean to you? >> Jason Reynolds: Oh, this is good. Right? Because -- this is a good question. I think, for me, youth -- like youth as -- so, okay, so the word "youth," to me, is an energy. Right? It's a particular kind of like -- it's a feeling, more so than it is an age range. Which is the way that I try to stay connected. Right? That energy, that -- that -- the -- look, when I think of young people, right, when I think of the youth, I think of human beings who are learning things for the first time. And because they're learning them for the first time, in the context of their own lives, they're changing the way -- the meaning of those things. Right? What does that mean? It means that like if -- if -- let's pick music. If you asks -- if you ask your grandmother what music is, she'll define that music based on the context of her childhood, right, where she was when she first heard it. So, like if it's my mom, it's like, "Oh, the 1950s, the 1960s." So, to her, music is Motown. Right? Because that music literally set within the context of her childhood. And it changed based on where they were in that space, in that particular time, in the country and in the world. Right? The same goes for music today. If I say, "What's music," you may be like, "Oh, music is, you know, Lil Nas x, right, music is Doja Cat, music is Taylor Swift, music -- whatever it is, right, based on the context of your lives, and how you all are changing it to fit that context. And, so, for me, when I think of like young people and the energy of youth, I'm thinking about taking something that we all think we know, and changing it, moving it, pushing it forward, disrupting it, you know, agitating it. Right? Like so that it can become a new thing, that we can then claim and rename as our own. That's a special thing that I never actually want to let go of. Because what it allows me to do is to continue to grow. If you lose your youth, you stop growing. Because those young years are usually when you're growing the most, because you're having new experiences. My point in life, my mission in life, is to be having new experiences, or to be taking old experiences and giving them new context, based on where I am at this particular time in my life, and pushing the line forward. Right? That's the beauty. That's also the reason why I only want to be around john you all, and why I spend so much time with you all, is because I think that like what I'm -- what I love to witness is young people shaking the table. I love the fact that you all are upset. I love the fact that you all are a little annoyed by everything. I love the fact that you all are challenging the adults, and saying, "We need new language, and we need new codes for the way we choose to live our lives, and the many identities that we all possess." Right? I love that. I think it's -- I think that it's powerful, and that there's growth in the discomfort that so many adults feel around it. But, also, I'm kind of like, "How else are we going to grow and change, how is the world going to continue to move forward," if we don't allow ourselves to listen to our young people who are saying, "This is the way that I want to live my life. And this is the world that I envisioned for myself. And this is what you all are going to have to do, unless you're going to -- if you're not going to move out of the way, then you're going to have to sort of acquiesce to what it is that we need for the world that we're building." Especially if all of you all adults be talking all this smack about how we are, quote/unquote, "the future." Then allow the future to come into fruition. And in order to do so, you're going to have to let your hands up off the reins sometimes. I love that energy. I love it. Right? And I think -- I don't know. I think this is why I'm a little obsessed with you all, and a little enamored, and really just inspired by everything that you are. It don't mean that you all don't get on my nerves, and drive me up the wall, because you do. But that's also natural. It's a part of it. Right? It's a part of it. But I can look through all the noise, and see that there's so much genius and potential in all of you. >> Courtney Kim: Following that amazing answer, I think about this question myself a lot. And I really wish I could of typed down part of what you said. But I can't do that right now. But thank you so much. I think that really put things into perspective. Now, we do need to move on to the live Q&A, because people have been sending in questions for you. So, our first question comes from [inaudible]. She asks, "Would you share some contemporary author's work that excites or inspires you?" >> Jason Reynolds: Oh, yeah. There's so many. Oof, there's so many. There's -- let's see, who am I thinking about right at this moment? There's a woman, she has a debut -- a debut novel out. Her name is Amber McBride. And her novel is called "Me (Moth)." It just got long-listed for the National Book Award. It's probably the most beautiful book I've read in a while. Just amazing. Check out Amber McBride. Check out Mahogany Browne. She wrote "Chlorine Sky." She has a new one coming out called "Vinyl Moon." These are really cool books. Candice Iloh. She wrote "Everybody Looking Brilliant." So far, these are Black women, just because I think we should be reading the book -- works of Black woman. I think it's important. But there's tons of others. I mean, Randy Ribay. Everything that he's written I think is genius. I'm thinking about Kacen Callender, "King and the Dragonflies." Genius. I'm thinking about Traci Chee, Traci Baptiste, Ibi Zoboi, Dhonielle Clayton, Kwame Mbalia, George Johnson. I mean, I could go on and on. There's just -- it's an amazing time for literature. And there's all -- I mean -- and then there's, you know, Jesmyn Ward, Ocean Vuong. You know, because I think we categorize things in funny ways. Right? We say like I'm the ambassador for Young People's Literature. But the truth of the matter is that literature can be for -- like all literature can be for young people. We create categories. And it's all very weird to me. Because the truth is some of you would love to read "Salvage the Bones" by Jesmyn Ward. Right? Some of you would love Ocean Vuong's "On Earth We're Briefly Gorgeous." Some of you would love Julian Torres -- Julian Torres? Oof, I'm going to mess up his name. But he wrote "We the Animals." Brilliant, brilliant book. I mean, you know, right now, I'm reading, you know, Stephen King "The Body," which became "Stand by Me," the movie's name, I mean. So, I could go on and on and on. But there's tons and tons and tons of great literature out there, for sure. Open your mind, read widely. Don't be afraid to read things that you're not used to reading. Give things a try. Lots of Japanese literature I love. You know, like Banana Yoshimoto's short stories. I mean, it's -- there's just -- yeah, read everything. >> Brandon Marshall: All right. We now have a question coming from Nadia from Detroit. And she wants to know, I also want to know this, too, what do you inspire -- so, what do you do to inspire yourself to write? >> Jason Reynolds: Nadia from the D [inaudible] of Detroit. One of the best cities in America. First and foremost, one of the last great American cities. Shout out to Nadia. What do I do to inspire myself? You know, you're -- you're -- this is the way I think about it. Inspiration, typically, is a part of your imagination. Right? Like I'm inspired by the things that I'm able to imagine. But my imagination can only be fueled through my curiosity. Right? So, what does this mean? This means that like, in order for me to continue to be inspired, I have to live an inspired life. And the only way that you can live an inspired life is if you're curious about the world around you. You've got to be wide open, right, wide open. Now, I think sometimes when you grow up, especially depending upon your environment, you were often taught to be closed, right, to be protective of what we allow into our space, into our minds, into our spirits and our bodies, and all this. Right? Where it's like you've got to be careful. You've got to protect yourself. Because you don't know if someone's trying to get you. I mean, Nadia, you're from the D. You know what I mean? And depending on part of Detroit you're from, you know exactly what I'm talking about. Right? It's like you've got to kind of move a certain way to be protected. And we always look at it as like protecting the body. But you really are also sort of closing up parts of the mind, in certain ways. Because the person that you need to know [inaudible] the idea that might change your life, or the experience that might change your life, will require you to be a little bit more open, and a little bit more trusting. Not necessarily always of people, but about the process itself of living. Right? And that's the way I think about my own life is that like I've got to trust the process of living. Which means I've got to allow my mind to be as open to receive whatever it is that's out here in the world. I want to know about people's different ways of -- of -- of -- you know, different faith practices. Right? I want to hear about -- not because -- and the thing is I get to choose what I want to keep and not keep. But it doesn't harm me to know everything, because it's there for me to know. I want to know about like what does it mean to grow up in Detroit? Right? What can I learn from what it means to grow up in Detroit? What does it mean to learn an instrument? Even if I don't get good at it, I'm curious. Or make a piece of furniture, or take a photograph, or watch a documentary on birds, or, you know, who was the first bus driver in my town. How does -- you know, how does D.C. become D.C.? How does the subway system work? Who started the Smithsonian? Who -- whatever. Right? Like I live a curious life. And I think that's what keeps me inspired. On top of all of that, though, I also get to be around young folks all the time. And you all keep me inspired, too. I think, you know, even over the last year, watching the resilience of young people push through COVID, that's inspiring. Right? Being able to adapt to new school systems. Right? And I know this was difficult for all of us. And I know that young folks -- a lot of you all struggled with school, and with through Zoom, and all this, that and the third. But we're still here. And that's inspiring. Because I don't know if I could have done this as a 16-year-old. I don't know. You know what I mean? Like I'm inspired by that, too, to see some of your -- some of your grit and resilience that we claim ain't there. But it is there, because you're all still here, and you made it through this moment. So, you know, these are the things that keep me fresh. >> Courtney Kim: That's a quick response to what you just said. I definitely completely agree. And I do also encourage all the young audience watching today to be curious, be questioning, and appreciate the little things around you. There's a lot of things to gain inspiration from [inaudible]. So, we have our next question from Jack. He says that, "I love your 'Write. Right. Rite.'" Sorry, I can't [inaudible] the pronunciation. >> Jason Reynolds: Got it. >> Courtney Kim: [inaudible] last year. "They were great for use in the classroom. Will you be doing any more of these?" >> Jason Reynolds: I don't know. I don't know. Maybe. I mean, that's up to the Library of Congress, what they want to do. You know what I mean? Like I'm open to doing more of those. I enjoyed making those. And for those who don't know, the "Write. Right. Rite." Series was a -- it's like I guess 30 prompts or something that I -- it's on the Library of Congress's website. And just these quick prompts to get the mind working, right, to get the imagination working. I think they're being used as sort of writing prompts. But the truth is is that they're just imagination prompts. How do we get the -- how can we make sure that we continue to turn young people's minds on, and keep them sort of firing off, so that they can grow up to be creators and not just workers? And that's what I'm always thinking about. But check those out. Maybe there'll be more. We'll see. We'll see. >> Brandon Marshall: Thank you. Actually, I hope you make some more, because I want to get a chance to look at some. All right. Our next question comes from Robin. And they want to know, "Your stories have layers and symbolism. Do you ever think you need a reader's guide to go along with your books to make sure readers see it all?" >> Jason Reynolds: They all have reader's guides. As far as I know -- as far as I know, all the books -- most of the books have reader's guides that are available. If it's a book published by Simon and Schuster, reach out to Simon and Schuster, or go on the Simon and Schuster website. I'm sure that the reader's guides are available there. And if it's published by anybody else, like if it's stamped and it's published by Little, Brown, same thing. You can always find the reader's guides. The other thing, though, since you brought up the layers, is that what I'm also hoping is that, you know, if you're 14 or 15 or 16, and you're reading these books, I hope you go back and you revisit them when you're like 25 and 26 and 27. And I think that the books will read a little differently, because of all those layers, because of all those sort of hidden codes, and symbolisms and metaphors, and all of that stuff that I've sort of woven into the stories. I mean, that was always my goal is to write the books that can be read at multiple points in life, and can read differently based on your age and experience. And, so, you know, as you guys get older, go back and read "Long Way Down" when you're like 25 or when you're 35. Right? Or go back and read "Ghost" when you're like 25 or 26. And those books should be completely different books. >> Courtney Kim: We have an interesting question from John. "What literary pilgrimages have you gone on?" >> Jason Reynolds: Oh, that's a good one, man. No one's ever asked that. What literary pilgrimages have I gone on? It depends. It depends on what the -- on what you mean by literary pilgrimage. I mean, if you mean physical pilgrimages, I'd say that like I remember going to Italy, and going to like Dante's House. Right? Like that's a physical pilgrimage. Right? You go and you're like, "Man, this is where Dante wrote the "Inferno." Right? Like, you know, that's intense. Or, you know, what is it, at the same time I remember going up the streets of Baltimore, and, you know, seeing Edgar Allan Poe's house. I mean -- you know, I mean, for all of you all who are in the D.C. area, or if you're in the -- or even if you're in Baltimore, just know that like Baltimore is the -- the city of Baltimore has a huge literary heritage right there. It's right there. Everything is right there. Or in D.C., you know, going up Fifth Street, and Langston Hughes' house. You know, like these are things that I could do right here in my own city, in my own town. You know, it's like when you -- yeah, there's tons of that kind of stuff. Now, if you mean like literary pilgrimages mentally, you know, that's a whole other thing. Because that would mean that I -- I mean, for me, I've been on those -- every time I write a book it's a literary pilgrimage. Every time I sit down to make anything, it's a journey. And the word "pilgrimage," for those listening, it means just a -- you know, a journey that is meant to create clarity, right, make things feel clear, a journey where you're going to seek something that might not be a physical thing, but it might be something that is a little more intrinsic, you know, something that you learned about yourself. And I think every single book is a literary pilgrimage for me. You know, I think about "Long Way Down" and what I had to go through to write that book, the journey of self that I had to go through to write that book. Or "Stamped," the journey of self. Or "As Brave As You" to dig through my childhood in that way, and think about all the time I spent with my blind grandfather and my older brother. Or "The Boy in the Black Suit" dealing with grief, that the pilgrimage of grief. Right? And, so, I think it's a two-pronged question, and it could go either way. But those are the things that come to mind at the moment. You know? 34 >> Brandon Marshall: I had no idea Baltimore -- you know, some places are like only a train right away from you, there's so much literary history to it. >> Jason Reynolds: Yeah. Think about how they teach Edgar Allan Poe our whole lives, and don't tell us that his house is up the street. [ Laughter ] And this question comes from Michaela. She wants to know, "At what point did you figure out that writing was what you wanted to do with your life?" >> Jason Reynolds: You know what, Michaela? I'm still trying to figure out if writing is what I want to do with my life. You know what I mean? I just happened to be here, and things are working out. But, you know, it's tricky. I think I was a young person when I realized I love to write. I'll say that. I was a 10-year-old when I realized writing is my thing. I was a 16-year-old when I started to -- well, a 15-year-old when I started to take it really seriously. I was published at 20, 21. And then I was successful at 30, 31. The reason why I'm always careful about like, "Oh, writing is what I want to do with my life," I mean, it's what I'm doing with my life, obviously, and I love it. But I'll tell you this. When I stop loving it, I'll stop. I am more than what I do, Michaela. And I think we have to remember that. Like be careful about sort of associating our identities with the things that we do. I'm a writer, right, as a profession. But I don't like to consider myself a writer as a human, just because that would mean that it's attached to like my identity, in a way that I'm not comfortable with. Because one day I might wake up, and feel like I'm done telling these stories. I've told every story I want to tell. And if that's the only thing attached to my identity, then who am I when the writing is over? Right? I think about Whitney Houston all the time. Right? Whitney Houston, they used to call her the voice. And she used to call herself the voice. And it was like, well, if all you are is the voice, then what happens when the voice goes? And when the voice goes, it's like, well, who am I now? Right? So, I don't know. Today, I'm a writer. Tomorrow, I might be a writer. Next year, I might not be. We'll see. You know? >> Courtney Kim: Our next question comes from Lucia. She's a fifth-grade teacher in NCPS in a Focus school in downtown Silver Spring. She wants to ask, "What's your advice for a 10- or 11-year-old honing their writing skills? >> Jason Reynolds: For a 10- or 11-year-old honing their writing skills? Well, my first piece of advice is I think for the teacher. Which is we've got to make sure that when we're teaching language arts, we remember the art part. We always teach the language part, but we don't never teach the art part. And I think what happens is sometimes young folks, 10 and 11 years old, creative writing is sometimes stripped away from them, because they're learning how to write book reports. Right? Which is important. Right? But I'm just saying the creative part goes away. And, so, for the 10- and 11-year-old who wants to hone their writing craft -- their writing ability, I think, one, you have to read. And, so -- and I'm obligated -- excuse me, and I'm obligated to make sure you know that. You do have to read. It's important for your vocabulary, and for your ability to sort of -- sort of understand how to take an idea, and put it on the page. But, more importantly, I think that like you should do away with all the rules. Don't worry about the rules, man. I know you're all like at this point where you're learning how to use commas at 10 or 11. You're going to learn how to use commas, and this, and all the punctuation and yada. And sometimes that stuff -- and it's important to know those rules. But sometimes those rules can get in the way of making something creative and brilliant and honest, and yours. Right? Something that feels like your voice. And I think it's okay for you to sometimes forget the rules, and just write -- just write it down. Just get it out. Write it in a way that makes it feel good for you. Right? Not for your teacher, not for your momma. Not -- how does -- how does it -- how could you do it in a way that sounds good to you, and feels good to you? I think that's the beginning. Because what that'll teach you is it'll teach you your own voice. It'll show you who you are. It'll show your own style. Right? It'll allow you to express yourself freely. And we can go back in and figure out how to punctuate it later. But just do your thing. Get it on the page. The other thing is write in whatever form you want to write in. If it's poetry, if it's raps, if it's a list, all those things matter. All of it strengthens the muscle. But you've got to -- I think sometimes we've got to pull those rules out of the way, because they can become barriers and walls to creativity. >> Brandon Marshall: Our next question comes from, again, [inaudible] Robin. "What messages from writers or musicians do you wish everyone heard?" >> Jason Reynolds: Oh, man, what's the message? And let me -- let me -- let me -- okay -- because this is a good question, because there's been so much good advice. I think, you know, there -- for musicians -- as far as from a musician's standpoint, you know, I mean, I'm -- there's a famous quote, I believe it was Miles Davis. Hm, I want to say it was Miles Davis who said that basically he learned a long time ago that there's no such thing as a bad note. Right? And that if he hit a note that seemed like a bad note, he would either just repeat it. Right? If you repeat it a few times, it becomes part of the -- part of the piece. Or he would change the note that came after it, which would then make that note the right note. Right? And I think if we think about life, I think that sometimes we -- when we become our true selves, sometimes that feels like an incorrect move. Sometimes you want to -- high school kids especially, right, you want to put on something that represents who you are. But you know that if you put it on, they're going to tease you for it. Or it might not be in style. Or it might not be fly. And it ain't this and it ain't that, it ain's this and it ain't that. But if you do it every day, or you do it once a week, or you continue to repeat it, because it's what you love, you'll realize that everybody will start copying you. Right? You'll set the tone for it. Right? You change the tone and the temperature of what's fly, just by being consistent and holding your ground. Right? Or just by playing the note after that. Right? Which is basically like you don't like this, but the truth of the matter is if you look at it this way, it's actually kind of fly. Right? I don't want to wear Jordans. Why you don't want to wear Jordans? Because all you all got on Jordans. And, so, I'm choosing to stand out, and be an individual, and do it my own way. And then what you will see is more people will start copying you anyway. Right? Now, for writers, I think -- I think -- you know, there's so much advice I could give. But the one thing is understanding that like writing is always difficult. And I love this, because I think that people are afraid of difficulty. Young folks today, you all's generation, I love you all so much, but the one thing that does kind of scare me a little bit is that difficulty scares you tremendously. And it'll cause you to sort of back out of things that are important for you to not back out of. But writing is always a difficult task. Writing is hard for everybody. All of you young 'uns in school right now, who are struggling with writing, guess what, your teachers struggle with writing, too. They'll be struggling. They have a hard -- they probably couldn't even write the essays they're asking you all to write, or they would have the same amount of -- the same amount of hardship doing so. That's the truth. Right? That's a fact. Right? And, so, if writing is always difficult, then the choices that I had to make every day is to step into the difficulty, knowing that it's difficult and doing it anyway. Right? If there's nothing more to learn from life, it's that there are going to be moments in life that are difficult. And the questions can't be, "Is it hard, or is it easy?" The question has to be, "Are you going to do this, or are you not going to do it?" Because the difficulty part is always going to be there. Right? And I think that's something that all of us have got to kind of get a grip on, that sometimes life gets hard. And I have to choose to be tough enough to deal with the difficulty of life, and move forward, knowing that on the other side of that difficulty could be beauty, could be freedom, could be grace, could be love, could be financial stability, could -- all of that. Right? And that's -- I think that would be my two pieces of advice. Do your thing. And don't be scared to do the hard stuff. >> Courtney Kim: We have a question from Robert. He says that one of his favorite books is "Oh, the Places You Will Go," and my grandmother recorded this before her death. What other books do think are [inaudible]? And I think he's mentioning like a speech before one passes away. So, what books might be suitable for this purpose? >> Jason Reynolds: There's a book that I wrote called "For Everyone." Just check out "For Everyone." It's literally meant for this very thing, for transitional moments in our lives. And it's all about how -- what a gift it is to be alive and have a dream. Even if the dream doesn't come true. The gift isn't the dreaming in and of itself. And check that book out. It's called "For Everyone." I hate to do a shameless plug, but it is a book that I would recommend if -- you know, for this particular question. >> Brandon Marshall: Great. We're on our last question, which I would like to ask myself. So, in your book "Look Both Ways," which I actually read a couple of days ago, are there any experiences that you've had in your real life that inspired some of the stories in the book? >> Jason Reynolds: All of them. Man, listen, I grew up -- man -- yeah, all of them, man. All of them from running from the -- running from the dog, from -- you know, being chased by dogs all the time in my neighborhood. Being afraid that my parents -- like that my mom would be hurt, and what would I do? Standing up for my gay friends as a young, young man, before we had the language that we have now, but being a -- trying my best to be a good ally, and standing my ground about pushing against hatred and homophobia as a young person. Being platonic friends with my home girls, and like looking out for my home girls, without it like -- and being safe around my young women friends, knowing that they could trust me, and that I wasn't on no funny stuff. And that I could look out, and we could just be friends and family, you know, without all the extra nonsense that young women have to deal with in this world all the time. All of those stories, man, are rooted in -- are rooted in my truths, man. But all of my stories, in general, for the most part, are rooted in my truths. I think that's what I can access better than anything else is who I am. I think, because I know who I am, and I've gotten to know who I am, and I can write books that feel like they're honest and true. And I think that's the greatest gift that I could give anybody. >> Courtney Kim: Now it's time to wrap up our Q&A. I would like to thank everyone who joined today. And we hope that you had a meaningful and enjoyable experience, as much as Brandon and I, and hopefully Jason has. >> Jason Reynolds: Of course. >> Courtney Kim: Congratulations, Jason, on your third year as National Ambassador for Young People's Literature. And to everyone who joined today, if you would like to keep up with Jason as National Ambassador, or to participate in his platform called GRAB THE MIC [inaudible] the story, visit guides.loc.gov/Jason_Reynolds. 30 >> Brandon Marshall: And to see Courtney and myself, and other teens speaking with 2021 National Book Festival authors, visit loc.gov/bookfest. And, once again, thank you, everyone, for watching today. >> Jason Reynolds: Peace, you all. [ Music ]