>> Kaffie Milikin:
Hi everyone!
So, I have the privilege of
welcoming you to fabulous 209 at
the Library of Congress 24th
Annual National Book Festival.
I'm Kaffie Milikin and I and my
team oversee fundraising at the
library. So, on behalf of all of
us, we're thrilled you're here.
This is definitely the most
fabulous, the most fun of all of
the six festival stages, 
if you ask me.
But shh. Don't tell the
Librarian of Congress that she's
on the main stage. She 
thinks she's better.
So, we hope you'll visit us at
the library on Capitol Hill for
one of our family days, which
is one Saturday a month when we
offer fun activities based on
the library's awesome
collections and the equally
awesome staff who are the
experts on our next family day
is on September 14, Saturday,
celebrating Hispanic Heritage
Month from 10:30 to 3:30.
It's entirely free and a lot of
fun and we hope you'll join us,
so register at Loc.gov.
You can also be a part of
helping us produce these free
events. I'm head of development
at the library, so you know
what's coming, right?
So if you want to help us
produce these free events such
as the festival and the family
day by joining the friends of
the library, please do.
Just this week, the friends
helped sponsor an exceptional
group of 19 librarians from
around the world to the Library
of Congress to share their
stories and practices for
serving the blind and print
disabled. You could not find a
more joyous, grateful, gracious
group of people who are serving
patrons across the world.
So your support extends the
reach of the library and allows
people everywhere to benefit.
So consider becoming a friend.
We have a booth right in front
of the exhibitor hall, but let's
kick off our first session 
of this stage.
We have the--I have the privilege.
We have both the author and
illustrator of a picture book,
the "Dictionary Story" with
Oliver Jeffers and Sam Winston.
And guess what? They joined us
from across the pond, and we're
so happy that they're here
today. So for people to
know, that's me.
Oliver is here from Norn Iron
or Northern Belfast, and we were
just chatting. I hope 
I got that right.
Oliver is a visual artist
and author working in painting,
bookmaking, illustration,
collage, and many other kinds of
art. His picture books have
been translated into over 50
languages and sold more than 14
million copies worldwide.
Oliver's original artwork has
been exhibited in museums across
the world, and he's received
numerous awards for his work.
Welcome. Sam Winston is a
writer and visual artist known
for his work in drawing and
typography, which is creatively
working with letters and fonts.
Who has a favorite font?
Anyone? Calibri.
Me okay.
Is that a good one?
No. Okay. [Laughing]
I will ask him later.
His work is held in many
special collections worldwide,
including New York's Museum of
Modern Art, and is collected by
your own--very own 
Library of Congress.
He created another book
together with Oliver, the award
winning "A Child of Books".
What an amazing duo.
So enjoy the festival and let's
welcome them to the stage.
They're already here. Thank you.
[Applause]
>> Oliver Jeffers:
Good. Good morning everybody.
My name is Oliver Jeffers,
which is spelled like that.
Where is it? Can you guys see
my name on the screen?
Just making sure it's all
right. Okay, good.
So both Sam and I work separately.
We have our own independent
practices.
I do things like make books.
You may have seen some 
books like this.
and you know, there's what
the inside of that book is like.
Looks like I've always been
interested in being a painter
ever since I was a kid,
that's the only piece of
art that survives from my
childhood. My dad is not known
as being a collector, shall we
say? But I always wanted to
be an artist when I grew up,
and I've always continued
to make art, though books is
probably what I'm best known
for in this world.
I suppose that makes sense
because it's a book festival,
but you know, so sometimes some
of my art turns into books, and
sometimes my art does 
not turn into books.
These are some painting
projects I've made that have
nothing to do with books at
all. And sometimes books that I
make have nothing to do with
the art projects that I make
either. Do you?
Yeah. And then sometimes this.
The reason I make books is like,
I just love the joy of simple
storytelling. And the art I was
making was about trying to
understand the world around me.
And sometimes they're actually
about ten years ago, those
things clashed together when I,
for the first time had a child
and I made a book called "Here
We Are Notes for Living on
Planet Earth". Because at that
moment in time I thought, you
know, the world seems to be
becoming an angrier place than
usual. Maybe my son, and would
benefit from knowing this, I
benefited from remembering
that it's a beautiful world and
that you know people may come--
in many shapes, sizes and
colors. We may all look
different, act different, and
sound different. But don't be
fooled, we are all people.
And I continued making work
about trying to understand our
world and one of them
culminated in this book that
came out last year called "Begin
Again".
And this is a nice segue into
how Sam and my brains often
overlap and think in the same
things with very different ways--
of looking and making.
So one page from that book
says, our brains that would
create words, see patterns,
tell stories, and invent the
future.
>> Sam Winston:
Thanks, Oliver.
So, yeah, Oliver often works in
painting in like, pencil
drawing, linework.
The thing that I really love
drawing in is words, which
sounds quite unusual because
often you know, you wait till
you read the words before the
images start appearing, but I
just kind of like--jumped the
gun a little bit and start the
images off before the words get
inside your head.
So, I've been making work about
language and storytelling for a
long time, and kind of like
thinking, how do words and how
to how does language 
shape how we read?
And there's one 
particular project.
Has anyone tried to write a
story and really not liked how
it's come out? I did that for a
long time, so I did one version
and a second version and a
third version, and by ten years
later I was like, 
this isn't this is.
I've maybe got to somewhere
that's sort of interesting.
So if you see the images, see
all the words with all the
pages, with all the 
words cut out.
So basically, I finally did get
to a few sentences that I liked,
and I went through and cut out
all the words.
So the one word that I was
looking for in this particular
instance, here's me cutting out
thousands of tiny words was the
word, "And". And then I got to an
end and I stuck all of the "ands"
together, and I printed it on a
very delicate Japanese tissue
paper, and it sort of makes a
sentence which I will read to
you. So the books I make are so
they're called "Artist Books" and
they're handmade, and sometimes
there's only 30 of them and
they're very delicate and
they're often poetry or writing.
So this is about a meter long.
And if you were to read the
clouds of words, it would say, I...
am...a...child...of...books,
full stop.
So that was that was they were
the sentence.
They were the words that 
I was looking for.
Took me ten years, cut them all
out and then put them into.
It's a very slow way of working, 
admittedly [Laughing] quickly.
This is a second book--because
I'm fascinated by language.
There's over 7000 scripts or
ways of writing in.
There's over 7000 languages in
the world, and there's about 300
scripts. And this is a story
called "One and Everything", which
talks about stories, really,
and these are some of the letter
forms that go into.
These are some of the ways that
you can write and tell stories
in other languages.
The reason why I wanted to
make a picture book in this
instance is that a lot of the
languages are going extinct,
unfortunately, and unless we
get a younger generation
interested in other languages,
other scripts and other letter
forms, then they will
definitely disappear.
So this book is very 
much about that.
As some of the art from it.
Okay. The last thing I want to
show is my practice.
Do you know when you read it?
It's kind of like you look at a
bit of text and it's very it
looks a bit like that.
It's unapproachable 
and it's quite solid.
Yet, when you read it, it feels
very evocative and very
emotional and you get swept up
in what the words are saying.
So, in this particular project,
"Romeo and Juliet", the play I
went through and I found
everything that was said in
passion from "Romeo and Juliet",
anything that touched my heart,
I was like, okay, let's 
take all of that.
And that doesn't really
visually look like how it feels
when I read it. So I took all
those sentences.
I cut them out into sentences.
Then I cut those sentences into
words and then those words into
bits of words, and now you can
see all the tiny bits of words.
And then I stuck those down at
a scale that was quite small.
And then this is this 
is how it feels.
That's the drawing 
that came from it.
So that's everything--that's
said from "Romeo and Juliet",
every bit of passion.
>> Oliver Jeffers: It's a bit harder.
To read, though. Admittedly.
>> Sam Winston: Yeah.
So that's where that's 
both Oliver and I's background, and
it gives a little.
>> Oliver Jeffers: There's a gentleman we 
know called Sam Summerskill who looks
like this, and we asked him for
a picture so we could put it in
to this talk, and.
>> Sam Winston: He sent us this.
>> Oliver Jeffers: Yeah, this 
is what he sent us.
But, Sam basically knew
both of us and just said, do you
know?
And I said, no. And he goes, I
think you guys would get along.
You think an awful lot.
Along the same lines, though,
your work looks very, very
different. So I think I will
introduce the two of you.
And so we did and we met and
we're like, wow, it feels like
we've always known each other.
Our work is so similar in
approach and what it means, but
so different in how it looks.
And by the end of that meeting,
it was like, we should work on
something together, that I
think that would be a fun thing
to do. And so we did and we--we
decided that we would work on a
project, not knowing what shape
it would take, whether it would
be a book or an exhibition or
sponsored walk.
We didn't know, but we got
together and we started looking
through all of our old projects
to see for a little spark of an
idea. And this is us very hard
at work, just to prove to the
publishers that's what we were
doing when we would go on these
trips. Because I was based in
New York and Sam was based in
London, and those are 
not near each other.
And if anybody works with
anybody else, it's much easier
to do it when you're physically
there because you can point at
something. Anyway, we
picked up on Sam's project
called "Orphan", with that first
line was, I am a child of books,
and we thought that there was
something worth taking here that
could work as a book that was
primarily enjoyed by children.
So one thing that I make
picture books, I try not to call
them children's books, because
I think that alienates people
who aren't children.
And some of the best books I've
read in a number of subjects
have been in the form 
of a picture book.
So we decided we would 
make a picture book.
But then how do you take
somebody who makes type like Sam
does? Somebody draws pictures
like I do, and two people who
tell stories and put 
it all together. and
>> Sam Winston: so, yeah, we had 
this conversation as in like, have
you have you ever 
tried collaborating?
It's like trying to make
something in the sandpit
together and it can get a
little bit testy, as in like,
oh, I want to go, I want to go.
And we we immediately 
didn't do that.
So sharing is caring.
So we were both like, okay, so
what do you think?
And Oliver turns around.
So you know that sentence 
I'm a child of books.
Oliver turns around and shows
me these images, which is what
he thought a child of 
books might look like.
And she's the girl 
in the picture.
And there she is.
And we knew that there 
was a boy in it.
But the boy was a bit 
of a reluctant reader.
So can you see how 
nervous he looks?
He's looking a bit and she's
like, come on, come on.
>> Oliver Jeffers: But there's 
a reason for that too.
>> Sam Winston:
Ah, as a dyslexic.
So I'm dyslexic, which means
that I always struggled with
words, which is quite unusual
to then spend the rest of my 46
years of life working 
with words.
But, you know, it's a 
love hate thing.
Um.
>> Oliver Jeffers:
But dyslexic.
If people say you told it
to me, it was like, it's a
superpower if you know 
what to do with it.
And that most of the world's
greatest designers, typographers
and architects tend to be
dyslexic because they.
>> Sam Winston: So when so so if 
you're learning to read and you find it
really hard to read, and you
spend a long time looking at
those little black squiggles
going, is that going to be a
cat? I don't know, it's just a
semicircle and a triangle, then
you get really good at what?
What words look like.
So I think that's what we
forget is words are pictures
too. So here we have a "Child of
Books" and we would.
So we had this line the next
I'm a "Child of Books".
And the line was I have sailed
across a sea of words and there
she is sailing. But that's just
Oliver's are.
And we were thinking, well,
that's not kind of so what we
did, and if there's any
designers in the audience,
you'll, there's we basically
took all of that picture of the
sea and we put letters in and
each little red square you're
looking at there is
individually rotated letter.
So that's like thousands and
thousands of little letters.
So we can make--we'll show you
the art in a second so we can
make it. But we worked out a
way of working together, which
is--sentences were planks.
bricks were words and
letters were dust.
And we would talk about bricks.
Anyway. Go on.
>> Oliver Jeffers: Yeah. So basically 
during like with Morse code and then
figuring out how that would
work in an image.
So a drawing that looks like
this would end up after Sam's
design and laying the type, and
it would look like a mountain.
And you know, I think we should
just read the book here.
You should read the book.
>> Sam Winston:
So here we have it.
>> Oliver Jeffers: Does anybody here 
know this book? "A child of Books."
Great.
>> Sam Winston: So, I'm a child of books 
and I come from a world of stories.
And we have this very keen reader 
upon my imagination. I float
>> Oliver Jeffers: and all of the 
rather than just having it be random
abstract, abstract text.
At this point we're picking the
sea of words are all from
classic children's literature.
So in here I think you've got
the Swiss Family Robinson,
Sinbad, 20,000 leagues, 20,000
Leagues Under the Sea, all
children's stories related to
sea voyages, sea voyages.
And, you know, I thought it was
like a wonderful thing to pay
homage to this really old the
classic basis of literature,
which also happened to be
copyright free. [Laughing]
>> Sam Winston: We wanted to use some 
newer books, but we thought someone
might shout at us.
So we have this.
I have sailed across the sea of
words to ask if you will come
away with me so you can see the
child of books.
And she's meeting a very sort
of seem quite scared, reader.
I'm not sure about that.
Some people have forgotten
where I live, and then we have a
very serious man reading some
very serious stuff.
Oops! But along these words I
can show you the way.
And for those of you as anyone.
Alice in Wonderland, the
mouse's tale.
Do you remember what the
mouse's tail looks like in Alice
in Wonderland? It's a shape
that looks like a mouse's tail.
So here
>> Oliver Jeffers: made of words. So that's the first example that I think we know of.
Where? What is it?
Concrete.
>> Sam Winston:
Concrete poetry.
Kind of. It's not. Yeah, yeah.
In mass market print, it's a
very famous example.
Yeah. So that's the 
mouse's tail.
And now this boy is going on a
bit of an adventure.
We will travel over mountains
of make believe.
And these mountains are made up
of a conversation between Peter
Pan and Wendy about whether
they should believe in fairies.
Discover treasure 
in the darkness.
Treasure Island is what the
cave is made from, and we can
lose ourselves in a forest 
of fairy tales.
Can you look at that picture?
Can anyone see what the trees
are made out of?
"Books". What are books 
made out of?
"Trees". Love it.
An escape from monsters and
haunted castles.
And what it's.
>> Oliver Jeffers: Like Frankenstein 
and some others.
Like the horror stories.
Monster stories.
>> Sam Winston:
Sleepy hollow.
>> Oliver Jeffers:
Sleepy hollow. Yeah.
>> Sam Winston: And then the children 
are escaping on a sentence from
Rapunzel. Let down your hair.
We can sleep in clouds of song.
And shout as loud as we 
like in space.
For this is our world we've
made from stories.
And this really is the 
heart of the book.
It's basically that lovely
point when words come alive in
your head and they make amazing
pictures and.
>> Oliver Jeffers: Well, actually there's 
a there's a one page left after this.
Our house is a home of
invention where anyone at all
can come, for imagination 
is free.
Now, we thought this book was
going to be basically impossible
to translate into different
languages because of all the
type. But people give it a go.
And so this is the 
Italian version.
And if you look at the words in
the cave, usually the screens
behind us when we're talking
about this, if you look at the
words in the cave and then if I
show you the Arabic version, not
only did they have to sub out
the handwriting, but every
single word that used to 
make up the landscape.
And not only that, different
cultures would replace those
books for stories that made
sense in their culture.
So, you know, in the Japanese
version, they didn't necessarily
want to put in Treasure Island.
So there was a different 
story completely.
all sorts.
There's Chinese, Greek, and it
was just became this really
lovely, passionate project for
people with a love of words.
And so there ended up being 
a bunch of coalitions.
And when we thought there
wouldn't be one.
So we took this as a challenge
and we decided to make a book
that would be harder 
to translate.
>> Sam Winston:
Not intentionally.
It just, it just turned out.
Turned out that.
Way, Sorry. Okay.
Sorry.
>> Oliver Jeffers: We're going to 
get ten minutes later, so we should.
>> Sam Winston: Yeah.
>> Oliver Jeffers: Because we 
do want to read the book.
>> Sam Winston: So we do. Yeah. So I had 
been working with the dictionary for
a long time, and I really loved
the dictionary in the sense that
it's got every single word 
that you can say.
It's a bit like us, but when
you try and say it, it can get a
bit fumbly, as in, and you
don't say it in the right order.
So I just thought the
dictionary is very similar to
our predicament. So I'd done
some art books that so and
that's a 22 year old me
working, doing a dictionary.
This is a sculpture again with
the Oxford English Dictionary,
but folded in on itself.
And then these are 
some other pictures.
Shall I do the story?
>> Oliver Jeffers:
Yeah, do the this story.
>> Sam Winston: So, at some point I went 
to a place called Oxford University
Press where they decide the
Oxford English Dictionary, which
is the dictionary in the UK at
least a bit like Webster's is
the dictionary--dictionary that
basically, you look up all your
words and the woman shows me
around the whole building, and
then she shows me this one room
and she says, this is the room
where the words that aren't in
the dictionary are kept. [Laughing]
Hands up. Who knows a word
that's not in the dictionary.
We went there.
>> Oliver Jeffers: Well, yeah.
>> Sam Winston: Go on.
>> Oliver Jeffers: So just, Yeah. 
And it looks like this.
And it's like just this.
Such a lovely notion that
language changes.
And sometimes words go in and
sometimes words go out.
And unfortunately, some of the
words that have come out in
recent years have 
been words like.
>> Sam Winston: Acorn and 
adder and blackberry.
>> Oliver Jeffers: And words 
that have gone in have included.
>> Sam Winston: Spreadsheet 
and celebrity.
>> Oliver Jeffers: Yeah.
So anyway, that aside, we both
knew that there was something in
this version of a story, a
dictionary that comes to life
because it's not like you read
a dictionary from start to
finish. Although I did try--I
tried to read the entire
dictionary on the flight on the
way over, but I couldn't finish.
I got up to pee
>> Sam Winston: He does it 
every tour.
He does it every tour.
>> Oliver Jeffers:
Thank you.
Thank you.
>> Oliver Jeffers: So we got together, and 
we're like, there's something in this,
and we can have this same
celebration of a typography
landscape where these
characters interact.
But this time we can be a bit
more fun and a bit more sort of
chaotic. And we came up with
this story called "A dictionary
Story". That is this the story
of basically the dictionary that
wants to tell a story but
doesn't know where to start.
And there's a couple of things
that went into the art making
practice of this. There was
photographs, there was
typography, the central
character in the book is a
dictionary. And we had--
Sam's partner.
He and song is a very
accomplished bookbinder.
And so she made us this copy of
the dictionary from scratch that
we could use to photograph in
the book.
>> Sam Winston: And the 
dictionary.
Sorry. Yeah. The dictionary
starts very clean and pristine,
and then slowly it gets
slightly worn and unfortunately
it becomes a much more 
worn out type of.
Well yeah you'll see.
>> Oliver Jeffers: Yeah.
This so this became a 
central element to this.
The--the--the photograph of
the book.
I am going to, I think
because let's read it.
So yeah I think let's read it 
let's read it and then we'll go
into some of the bits
afterwards. So this is a
dictionary story by Sam
Winston.
>> Sam Winston: And Oliver Jeffers.
And it's the first time ever in
this place that it's ever been
read. So you're the first
people to listen to it.[Applause]
>> Oliver Jeffers: Most of the time, all of 
the books knew what they were about,
but there was one book who was
never quite sure of herself.
The dictionary had all the
words that had ever been read,
which meant she could say all
the things that could ever be
said. Yet when you read her
pages from first to last, she
didn't tell a story like 
the other books.
Which is why one day this
dictionary decided she would
bring her words to life.
>> Sam Winston:
Uh--oh.
>> Oliver Jeffers: She was just wondering 
where to begin when alligator appeared
and, being hungry, walked off
in search of a snack, smelling
something delicious from 
the D pages.
Alligator wandered that way.
Doughnut saw him coming and
deciding he did not want to be
eaten, rolled away further into
the dictionary.
>> Sam Winston: Oh, sprinkles.
>> Oliver Jeffers: As doughnut tumbled 
through ghosts, waking him up from a long nap,
dictionary thought how exciting
it was that a story was finally
happening on her pages.
Now awake. Ghost was 
quite confused.
Huh? Doughnut, meanwhile, kept
rolling on through the pages
with alligator in hot pursuit.
They made it all the way to the
moon, who was surprised to see
words from the start of the
dictionary this far back.
What are you two doing here?
She wanted to know, but before
any of them could answer, Ghost
floated into the scene and gave
everyone an awful fright.
>> Sam Winston: More sprinkles.
>> Oliver Jeffers: Moon hid behind a 
cloud and seemed the most obvious place.
And poor cloud, who didn't know
what to do, started to cry on
the spot. Alligator and Doughnut
simply took off again, and poor
dictionary could barely keep
up. Alligator was over halfway
through the dictionary before
he finally caught up with Doughnut,
who still did not want to be
eaten. But Queen, who was too
busy ruling, got in the way.
The collision caused Queen to
slip on some soap, sending her
ruler one way and soap 
the other way.
Ruler flew back through the
dictionary past puddle, who
cloud had made crying.
Oh, hello. And landed on ink
with a messy splat.
Oh dear, I thought dictionary.
She was not enjoying this so
much anymore.
It was all starting to get a
bit out of hand.
And that is when soap landed on
top of Tornado waking him up.
Sorry. He was, as usual, in a
very bad mood.
Hearing the noise, viking,
umbrella and walrus popped up
just in time to get swept up in
tornado's terrible tantrum.
>> Sam Winston:
Uh--oh.
>> Oliver Jeffers: Tornado flung Alligator to the very back of the book, startling
zebra who made a bolt 
for the beginning.
It was chaos.
>> Sam Winston: Should we do some? So the 
thing that you're watching underneath
of the book is all these words,
and they're actually
alphabetical words. So when
ghost appears.
>> Oliver Jeffers: So it's the dictionary 
that's just been knocked on its side.
>> Sam Winston: And ghost has a definition, 
but we didn't want to do just normal
straight definitions. So we
basically decided to rewrite all
of the words in the book.
So one definition is zero.
Zero is a word that means nothing.
Nothing is a word that means
nothing, even though zero is a
different word from nothing.
Both mean nothing.
This definition has mostly
talked about nothing.[Laughing]
>> Oliver Jeffers: This is not what 
dictionary had in mind at all.
She just wanted to tell a story.
But now nothing was in the
right place or even making
sense. Her words would be no
use to anyone now and she needed
to get things back in order.
Thankfully, dictionary knew
just who could help her friend,
Alphabet. Alphabet had a song
with all the letters in it, but
few words at all.
>> Sam Winston: Who knows a.
Song with all the letters in it.
With few words at all.
A, b, c.
D, e, f, g,
Yeah.
>> Oliver Jeffers: And a song 
as everyone sang along.
And in case you don't know the
song, that's the sheet music for
it. Down along the bottom of
the art, which is also the sheet
music for twinkle, 
Twinkle Little Star.
Helped everyone. Put back.
Helped put everyone back
together again.
After a few verses, all the
words settled down in their
proper places once more.
The dictionary was a dictionary
again, and she was happy to let
other books use her words to
tell their stories instead.
Books like this one.
>> Sam Winston: Which is 
the dictionary story.
>> Oliver Jeffers: But every now and then 
Ghost and Puddle would just sneak out at
night for a quick rendezvous.
>> Sam Winston: I missed you 
to the end.
>> Oliver Jeffers: the end. 
So thank you.[Applause]
So yes, we decided to 
rewrite the dictionary, and this book
did take a long time.
It took about eight years to make.
And with hindsight, I suppose
that's probably because we got
the guy with dyslexia to
rewrite the dictionary.
Each word in there is its own
separate definition that
we've we've rewritten, and
there's a secret story in the
end pages. Can you read that?
Do you want to take a second?
>> Sam Winston: I could read 
it from the book.
Okay. I'm.
>> Oliver Jeffers:
You're attached to the chair.
>> Sam Winston: They plugged 
me in.
So at the end papers it looks
like the dictionary definitions.
But if you read all the bold
words it actually says the first
words were born inside our
heads, where they wriggled
around a long time and slowly
crawled out of our mouths and
into the ears of other people.
So it talks about all 
sorts of things.
Let me just read you the
definition of the word book,
because that's a lovely thing
to have in your life.
Sheets of paper bound together
inside a cover.
The sheets of paper usually
have writing or pictures on
them. Some books tell stories
and other books are full of
facts. Many books live on
shelves and some can be found in
shops. The place books like
gathering together the most is
called a library.
Libraries are a bit like forests.
They are enchanted places to
get lost in.
Books like forests can help
people.[Applause]
>> Oliver Jeffers: I think you're speaking 
to the right audience with that one.
But there's a couple of
different things about this book
that I think have sort of come
at an interesting time, which is
that this book, I suppose,
looks at about the importance of
words and how definitions have
consequences, especially in a
time that seems as turbulent in
the world as it does right now.
But one of the other things
that I think that is important
to--to think about this book is
that if you look at the arc of
the story, nothing actually
changes for the dictionary.
She's the dictionary at the--at
the end, just as she was at the
start. The only thing that
changed was how she thought
about herself.
So the story that she told
herself changed everything.
And I think that's there's
something really important in
that. And maybe we could have
saved this whole endeavor by
just listening to the Joni
Mitchell song.
"You don't know what you Got til
It's gone".
So that is the dictionary story.
And I think that is all the
time that we've got.
So, thank you everybody.
Thank you for coming.
All right pal. Nice meeting.