Air Date: 12/11/20

The Root Presents: It’s Lit!

Ep. 12 - Unlocking the Mystery of Writing, With Walter Mosley

Danielle ​Welcome to It's Lit! Where all things literary, live at The Root. I'm Danielle Belton,
The Root's editor in chief, here with the managing editor of The Glow Up Maiysha Kai.

Maiysha ​Hi!

Danielle ​Maiysha, today we are talking with an illustrious, award-winning author. He has
written more than 60 critically-acclaimed books over the course of his career, including the
bestselling Easy Rawlins Mystery series. And that author is, of course, Mr. Walter Mosley.
Walter has written across almost all genres from mystery to science fiction, nonfiction,
erotica. He's written plays, even dabbled in graphic novels. He's also the winner of multiple
awards, including a Grammy, several NAACP Image Awards, a PEN American Lifetime
Achievement Award. And most recently, he became the first Black man to receive the
National Book Awards Medal for distinguished contribution to American Letters for a
lifetime achievement in writing. What a mouthful.

Maiysha ​I mean, seriously, because Walter is truly the definition of a prolific writer and he
is an educator and he's sharing his talents and wisdom now with his very own
MasterClass, which is super exciting and may have been the thing that got me to sign up.
You know, I love that he's actually dabbled in so many genres and tried so many things
that I think that as hard as it is to start writing in the first place, then it's so easy to get
yourself pigeonholed into things. And this is a man who didn't start pursuing a writing
career until he was in his mid 30s. And I think that that's a really important lesson to
communicate to all of us would-be writers out there who haven't completely gotten it off the
ground yet. So I'm so excited that he's bringing this to the masses with the MasterClass,
but especially that he's bringing it to us here on It's Lit.

Danielle ​No, I. I am a great admirer of Mosley's and just the fact that he's been able to be
prolific in so many different genres. I love the fact that he's been able to see some of his
work adapted for television and film. Like it's just amazing. And so I was really excited to
pick his brain and get at some of those writerly secrets that he's imparting to his
Masterclasses.

Maiysha ​I totally agree because he really in many ways is the prototype for what so many
writers are aspiring to do today.

Danielle ​Totally. And with that said, I think it's time to get to the interview.

Maiysha ​Absolutely.

Danielle ​Hi, Walter, welcome to It's Lit!

Walter Mosley ​OK, well, thank you. I’m glad to be here.

Danielle ​So we—Maiysha and I—can not believe that we have the good fortune of having
you with us today. Like, you are truly a master of your craft, and we have a lot of
questions. But before we dig into those, since this is a podcast about writers, we like to ask
all our guests to start: Name at least one book or books that were a game-changer for you;
that was life-affirming, life-altering. They blew your mind. What book would that be?

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Walter Mosley ​You know, it's so interesting because, you know, what books are important
and when they're important, you know have to do with, you know, who you are at that, at
that moment. So certainly, the first book for me is "Winnie the Pooh." It's really the first
whole book I ever read. And I was amazed by how things happened. I wasn't really
thinking about them, but I was still amazed by how much reading a story about this
creature and this place could come alive in my mind; it wasn't in the book anymore, it was
like in my head. And I just love that, you know, I think that that was great. At a later time, it
would be "The Stranger" by Albert Camus writing about his philosophical life in North
Africa and then, at some point along the way—I mean, there are a lot of books, but it's
another point along the way is 100 Years of Solitude...

Maiysha ​Ahh...

Maiysha ​Because, you know, I mean, it was just it was like a writer writing, but he wasn't
writing about a writer writing. Which I think, you know, that's like the greatest thing that a
writer can do because all writers want to write about writers writing, and it's boring, as a
rule. But it's interesting if you can do it right. And certainly that book, you know, does it.
And, you know, and then somewhere in between all those things, I don't know, you know,
Langston Hughes and the "Simple" stories; Etheridge Knight and his collection of poems,
"Belly Song"...they're, you know...OK, I'm just going to say those things, OK?

Danielle ​Yeah, no, I mean, you make an excellent point that often the book that's the most
meaningful to you has to do with, you know, how old you are and what time period you're
like, what frame of mind you're in at the time. Like, I can remember reading, you know,
"The Bluest Eye" when I was a teenager, which is the perfect time to read that particular
novel.

Maiysha ​So, you know, it's so funny because "One Hundred Years of Solitude" is a book I
read over and over again for that exact reason because it hits me differently every year or
three that I return to it—and I'm actually rereading it now, so as soon as you said it, I was
like, "Ahh!"

Walter Mosley ​A guy who I don't like as a person—well, he's dead, but I wouldn't like him.
T.S. Eliot, he wrote— his last collection of poems is the Four Quartets. And it's such an
amazing book. I still don't understand it. I keep reading it because I hope one day I'll
understand it. But I understand little moments and snatches; it's so much fun, you know, to
going to be going through it. You know, then you have people, I don't know really, there
are people like Gwendolyn Brooks, and I mean, they're just like—it's just particular little
poems along the way, you know, that they're just so, you know, moving, you know? I don’t
know, reading is a funny thing. I don't necessarily equate writing and reading, so—I mean,
I think they're two completely different things. And, you know, and I think that, you know,
because the university has to such a great degree tried to own writing—one, because they
teach literature, and two, because they make so much money off writing programs—that
you know, they come from a place where "well, we're educators" and well, you know,
maybe you are. But writers aren't educated. You know, writers are writers. You know,
writers can be hanging out on the street corner in Atlanta. You know, writers are—prisons
are filled with writers—people just writing their stories down, you know, and maybe it's just
letters. A lot of people writing novels, a lot of people writing poetry. Etheridge Knight, that's
where he comes from. You know, Etheridge Knight had the biggest impact on me as a
writer. I was studying writing, but I hadn't gotten anywhere with it yet. And they had this
thing in New Jersey, you know, the big poetry conference. And I went there and all these

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people were reading. Carolyn Forché, Ruth Stone, umm...what's was her name, I forgot
her name. Anyway, and Etheridge. And, you know, and the women were talking, you
know, [Carolyn] was talking about how she was, you know, visiting a dictator in South
America and he threw a bag of beers on the table and that was where her poetry started.
And then, Ruth Stone was talking about the grinding poverty of Vermont and you know,
how that got her started. And, you know, I forget her name, but the other woman, she was
homeless, living in her car with her two daughters when she was nominated for the
Pulitzer Prize. And I was like, 'Oh, my God, I can't do all these things. I don't want to be
homeless. I don’t want to live with other people in my car.' And then Etheridge came
up—remember, Etheridge has been in prison, Etheridge has been a heroin addict,
Etheridge is everything right? Etheridge says, "When I became a poet, I was in the
penitentiary. When I was in the penitentiary. I defined myself as a poet," he said. "And
once I defined myself as a poet, I went to the library to figure out what it was I had
become." And that's kind of the freedom of writing, you know. Etheridge was right. He was
free to write whenever he wanted to write and say whatever he wanted to say. And that's
the thing that I love about being a writer. It's not necessarily something I love about being
a reader—and those things might cross, you know, but I don't write about being a reader. I
write about the world. You know, I write about the world I live in, the people I've known,
where I wanted to go, what I hope for, what I don't understand. I know, I—it's a very long
answer to that question.

Danielle ​No, it was a good answer. That was great. But I have some more questions, of
course. So I do hope you have more answers. So—

Walter Mosley ​No, that was all my answers. OK, yes.

Danielle ​So as you know, 2020 has been quite a year, and it marks 30 years since the
publication of your first book, the now-famous "Devil in a Blue Dress." And since then
you've written over 50 more. But you've had, like, a few firsts this year: in addition to all
your numerous awards that you've won throughout your career, in April, you received the
Robert Kirsch Award for Lifetime Achievement, and then in November, you became the
first Black man to receive the National Book Foundation Medal for Distinguished
Contribution to American Letters. And, you know, while a lot of people might know you
best for the Easy Rawlins mystery series, you've written across so many different genres,
from science fiction to young adult, erotica, plays, screenplays—you've even [written] two
books on the craft of writing. Now that you've kind of accumulated all these things and
you've now put them all together in this MasterClass, what attracted you to this format and
what can we expect from your MasterClass?

Walter Mosley ​Umm...What's the first part of that question again?

Danielle ​Oh, I rattled off all the things that are great about you.

Walter Mosley ​No, the first part of the question.

Danielle ​What attracted you to the MasterClass format?

Walter Mosley ​Well, you know, I love it. The same reason I wrote my two little short books
on writing. People always come up to me, you know, when I'm doing a reading or an
event, and they say, "Well, how do you write a novel?" And it's not that much to write a
novel, but it's a little bit too long for me to just sit down and say, you know what I'm saying?
It's—there's—you have to make more of a little bit more of a commitment than that. And

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so, you know, the two books I wrote, I think, you know, [are] really useful. And also, the
MasterClass is also a thing where people can listen and learn and kind of, you know,
engage. And I think if I did it right and if the people, you know, doing it—making the film,
basically—did it right, then people will be able to learn about writing. And, you know, and I
know a lot about writing and also about talking about writing. I know a lot about talking
about writing.

Maiysha ​You know, one of my things that strikes me about you is, you know, you had this
tremendous success, like right out the gate. You know, we referred to "Devil in a Blue
Dress," which, you know, when we look at the span of your work, like, that was really just
the beginning, right? But you—this is a, you know, a book that was made into a film, and
these days it feels like so many writers, like that's the thing. Like 'I have to write something
that gets adapted.' And, you know, back when you did that, that was actually a fairly rare
thing, particularly, I think, for a Black writer in the early '90s. So, you know, as someone
who has had their first novel adapted into a film and has since become a screenwriter—I
mean, you are in writers' rooms now. What do you make of this phenomenon of
page-to-screen; this kind of aspirational [thing]? And do you advise that big picture
approach when you're talking to writers?

Walter Mosley ​When you say that big picture approach, would you mean you mean? You
mean them think of it?

Maiysha ​Well, I guess I mean it pun intended. But yeah, I'm kind of thinking with this vision
of it heading to the screen. Was that something that you ever had in mind? Is it something
that you write with in mind now, when you're writing a novel?

Walter Mosley ​I never think about it. Because I mean, I don't have to think about it.
Somebody else could think about it.

Maiysha ​That's true.

Walter Mosley ​Like, '[We'd like to] you know, option your book.' And I look at them and I'm
thinking, 'Well, you know, you're never going to make this movie, right? OK, but I'll take
your money.' And then, you know, and OK. But, you know, if somebody asked me what I
am, I'll say I'm a novelist, so... Because that's what I believe in. I like film, you know, and I
enjoy it. But for me. I don't find the fact of watching a movie, growing me intellectually or
spiritually, the way reading a book will. Because you make up the book while you're
reading it; the film is telling you everything you should be looking at, what you should be
thinking, how people sound, everything. Whereas when you're reading something, you do
more than half of that work, the reader does. And so, that makes your mind work overtime,
whereas film actually makes you stop and say, 'OK, I'll just become passive and I'll take
this information in.' And you know, maybe later you might think about it and it might mean
something to you. I'm not trying to say it's useless. But it's not as, for me, as powerful as
the written word.

Danielle ​Definitely, definitely. So, I know that there doesn't necessarily have to be like a
formal pathway to becoming a writer. A lot of people take the nontraditional route to it.
What advice would you give an aspiring writer of any age?

Walter Mosley ​You know, it's the same thing I say about books—like, if I read Devil in a
Blue dress and you read it, OK now, I have my opinion on it, which is everchanging. And
you have your opinion on it, which is different. And then, you know, somebody else reads it

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and somebody else reads it. When somebody comes to me and says, 'I'm an aspiring
writer,' you know, if I have time, I'll say, 'Well, tell me about yourself. What what's this
about?' You know, some people will say, 'I want to get rich.' Some people say 'I want to
make a movie.' Some people say, 'I want to tell the story of my life, my uncle's life, my
people's life'; 'I want to talk about these experiences I had during this war.' You know,
there's all kinds of different ways you go about it, you know? I think. So, there's a lot of
different approaches to that person, you know, writing a novel. Now, there are some things
that are almost always true—not always true, but almost always true—that if you want to
write a book, you should write every day. You want to write a book, you should write every
day. If you want to write prose, you have to understand poetry. There's no, there's no
question that most people who write prose don't do their best work writing it. It's 'Well, I'm
just explaining what they did and what they said,' I say, yeah, but, you know, they should
be transported by the language. And the best way to know how to transport somebody by
the language is understanding poetry. You don't have to really be able to write good
poems. I'm not. But I know that I have to really understand metaphor. I've had to think
through it, you know, metaphor and simile and rhyme and music and picking just the right
word, you know, and then either deciding to use that word or to not use that word. I mean,
there's so many things that we can learn from people like Gwendolyn, you know, that show
us how to see the world outside the window and then to translate that world into, you
know, music. And, um...so those are some of the things that I would say.

Danielle ​No, that's excellent.

Walter Mosley ​It's not you know, 'We do this and do that and do this.'

Danielle ​Yeah.

Maiysha ​I like that it's just as unconventional as the route to writing itself, the advice.

Danielle ​So, Walter, in your writing, you've also taken several trips into the worlds of sci-fi
and Afro-futurism, which we know we've seen a real surge in, of late, especially in this past
year, with series like HBO's "Watchmen and "Lovecraft Country." What attracted you to
sci-fi and is there anything you've seen that you wish you'd written or been in the writers'
room for?

Walter Mosley ​Huh. No. That's one thing, and the second thing is, I'm not you know, you
know, the—I mean, really, science fiction writers are the smartest people, and they're
continually trying to see the world in different ways and impossible ways, you know,
whether it's out in space, it's traveling through dimensions—like Octavia Butler, going into
the past—you know, Samuel Delaney, who's probably the greatest science fiction writer
America's ever had. You know, his work is just amazing, you know? I mean, he's talking
about gender and time and the motivations of being human or even being human itself.
He's talking about that way back, you know. And so, you know, that's one thing I love
about science fiction, it's really smart. You know, and at least I want to pretend like I'm
smart. So, you know, I try to write science fiction stuff, you know, so—and that, it's really
enjoyable and I'm very happy about it.

And that's what attracts me to it. And, you know, it's why I do it. But when we start talking
about film, you know, I mean really, Rod Serling's, Twilight Zone, you really can't beat that.
He really understood, you know—one thing that Rod Serling understood that so many
science fiction writers don't is that there should be humor. We should be laughing, also
along with being serious. And, you know, it's not just thinking about the future. It's not the

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Foundation trilogy by Isaac Asimov where, you know, we're going out and conquering the
universe. It's not about that. It's it's about how we understand knowledge, you know, how
we how we deal with knowledge. You know, how we think about things. I mean, right now,
going through the COVID crisis, two things—one thing a friend of mine said, another thing
I was thinking about the other day. The first thing, my friend said, 'Well, you know, we're
pretty lucky it's happening with COVID.' And I said, 'How could this be lucky?' And she
said, 'Well, it's not it's not, you know, the Black Plague. You know, it's not Ebola. So while
this is going on, we're learning how to deal with it. We're developing techniques to react,
[and] respond to this this biological, you know, attack on us.' And and I went, 'Wow,
that's—that's true.' And then, you know, just the other day, you know, when you're looking
around, everybody, before they came up with the vaccines and with their 90, 95 percent
thing said, 'Well, you know, usually a vaccine is 50, 55 percent,' which is true.

And, but because of, of advance in understanding RNA; because of advance in

understanding computers; computers being able to go through testing millions of times
faster than we can do it by hand. That's going to completely change the future. That one
thing is going to change the future amazingly—within the next three years, we're going to
see this right? And these are the only like new questions or at least kind of new-ish
questions, and so science fiction deals with questions like that. You know, what happens
when a computer can answer all of our testing like that [snaps], you know, rather than
seven years of study of it? I'm going, 'Whoa, this is, this is great. This is wonderful.' And
every once in a while when I'm dealing with that kind of, those kinds of questions and
things, I go write science fiction.

Maiysha ​You know, I'd also argue that I actually think writing mystery, which you've done
a lot of this is also a genre which requires a lot of intelligence because, you know, it's like
what comes first, the crime or the or the culprit, I don't know. But, you know, speaking
about writers' rooms, you know, you made headlines last year when you resigned from the
team of "Star Trek: Discovery" after a colleague complained about using the N-word while
sharing your personal anecdotes, which I'm going to, full disclosure, say I think was
ridiculous. But you penned an op-ed about this in The Times, and you defended free
speech, saying "the worst thing you can do to citizens of a democracy is silence them."
Given recent events in our democracy, do you think people are playing maybe a little fast
and loose with free speech?

Walter Mosley ​Well, you know, I mean, certainly, yes. But on the other hand, I think that,
you know, we're greatly being limited by what we can say and how we say things and what
freedom of speech actually is—to be able to say what you what you think or what you feel,
not what somebody else likes or doesn't like, you know. And that's, I think, it's a really big
issue. You know, I think that we should watch our own speech, you know—I mean, you
know, watching Trump and watching what he's doing, it's, you know, it's it's really
detrimental, not only to democracy but to a polity. Just for us to be able to live, we need to
trust, you know, where we're living. Now, Trump and a lot of his followers have traded
places with Black people because, you know, we've never been able to do it—I was on an
internet television show, me and five journalists—I have no idea what I was doing there,
but it was me and these five journalists...[recording drops]...'and that's so terrible and we
have to convince the American people so they can vote,' you know. I was also the only
Black person. And at one point, somebody asked me and I said, 'Listen, I don't like Trump.
I don't want him to be president, you know? This is a bad thing,' I said. 'But, you know, as
far as fake news, you know, I'm a Black man in America. I don't listen to fake news for 400
years.

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Walter Mosley ​You know, most black people don't that I know don't trust America—or if
they do trust it now, they're not going to trust it at some point up along the way. And I know
that. And I think it's not a good thing that, you know, that we have to live like that, and that,
you know, and now all of a sudden, you know, all these so-called white people are
recognizing how bad it is to be a Black person because the corporations have cut down all.
They say: 'We don't pay attention to age; we don't pay attention to gender; we don't pay
attention to race. We only pay attention to profit.' And so, like so those so-called white
people are getting ripped off as much as we've always been getting ripped off. And, you
know, it's a—that's a tough moment for them. And, you know, I just wish that they could
hear and say, 'Listen, man, we can help you out here. Because if we work together, we're
all going to have insurance. We're going to have a way to, you know, to make a life and to
retire from a life.'

Danielle ​Exactly. It's sad that more people don't see the commonality that we all have
there. The fact that we're all—we're all trapped in the same messed-up system.

Maiysha ​It's true.

Danielle ​But we dug into The Root's, you know, our crates, our archives...

Walter Mosley ​You have crates?

Maiysha ​We do, yes. Digital crates.

Danielle ​Yeah, we dug into the digital crates, and you've done several interviews with The
Root in the past. And one of the quotes that stood out to me from a previous interview you
did was this one "I feel a responsibility of talking about the people I come from, many of
them being black people," after which you clarified "A responsibility makes it seem like
something else, like something hard. But it's something wonderful. It's a labor of love.".

Walter Mosley ​Yeah, sure.

Danielle ​You have been largely credited with creating and centering Black male heroes in
your work. Why is this in particular a labor of love for you?

Walter Mosley ​Well, it's, you know, I learned how to be myself mostly, you know, from
Black men in America, just the way I [was] raised and [unintelligible] my family, all that kind
of stuff. And, you know, when I read about them in books that don't understand or when I
see films about them—or even when, you know, you start to pay attention to, you know,
because, you know...If you're going to make it out into the media, you're going to have to
do what the media want you to say in order for them to make money.

So even how Black people represent themselves a lot, you know—so, you know, watching
a thing on Donald Goines last night, and you know, and all these pimps are running
around saying how great it is to be a pimp, you know? And, you know, I love Donald
Goines, but still, you know, it's a weird thing, thinking it's great to be a pimp, [and] say, 'So,
I beat on my woman,' you know, and I'm like, 'OK,' you know, like, 'That's a real man.' I
say, 'Oh, OK.' But...when I started writing, I was one of the few people writing about Black
male heroes. A lot of people write about Black male protagonists, you know—so, you
know, you have people out of Richard Wright, out of Ralph Ellison, even Chester
Himes—Chester's so wonderful, such an incredible writer. But, you know, to say, 'Well,
this is a hero. This is somebody who I identify with; this is somebody who's going to save

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my culture; this is my John Wayne. You know, this is my Sean Connery. This is my, you
know...' like, you know, and it's such a wonderful thing; it's feels so exciting to be able to
talk about something that I see and feel and that I know that all these other people have
seen and do feel. You know, that's what I feel strongly is Easy Rawlins—but not just Easy
Rawlins, Jackson Blue is also a hero in his way; Mouse is also a hero, in his way.

You know, anybody who will stand up for themselves, you know, and be counted but still
have a moral code that they follow, you know, that the people reading the book can
understand, if not agree with, you know. And that's just the whole thing of creating black
male heroes. Women have done a lot, Black women, but that's a, you know, that's another
thing.

Danielle ​Well, Walter, it was so amazing to have you with us today on It's Lit! Thank you
so much for chitchatting with myself and Maiysha.

Maiysha ​Yes, you are one of our black male heroes, if you did not already know.

Walter Mosley ​I'm sorry I was talking so much. Maybe I could have answered the
questions.

Maiysha ​That's what you're here for.

Danielle ​No, you're supposed to talk. You're supposed to hear from you!

Maiysha ​But we can hear more on your MasterClass, which I'm really excited about. You
know, both Danielle and I do more than write the news. So, we're very excited to see what
you have to say about the craft. And I thank you so much for sharing some of that insight
with us today.

Walter Mosley ​I hope that it's helpful. You know, I do you know, I do think that everybody
should write a novel. Doesn't matter if everybody publishes a novel—I don't care if they do.
But even if you don't, to write a novel opens yourself to yourself. And I think that's really
important.

Maiysha ​I love that.

Danielle ​True, very true words there. Thank you so much.

Walter Mosley ​OK, thank you. And I'll talk to you next time.

Maiysha ​I hope so. I hope so. Come see us when you have the next book. I'm sure it'll be
like in two minutes.

Walter Mosley ​I have a book coming out in February, the new Easy Rawlins novel.

Danielle ​Oh, nice!

Maiysha ​Well, will be here.

Walter Mosley ​All right, thanks a lot.

Maiysha ​Thank you so much.

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Maiysha ​The Root Presents: It's Lit is produced by myself, Maiysha Kai, and Micaela
Heck. Our sound engineer is Ryan Allen.

Danielle ​If you like the show and want to help us out, please give us a rating on Apple
Podcasts, spread the word. And if you have any thoughts or feedback, you can find me on
Twitter at Black Snob or on Instagram at Belton Danielle.

Maiysha ​And you can find me at Maiysha on Twitter. That's M-A-I-Y-S-H-A and at
Maiysha Kai on Instagram.

Danielle ​And before we go, we always like to talk a bit about what we're currently reading.
Maiysha, what are you reading these days?

Maiysha ​Well, I almost want to say it's a mystery. Because we've been talking to Walter
Mosley, but I am actually, it is kind of a mystery to most readers. You know, one of the
beautiful things about hosting a podcast about books is that we get some great galleys. So
I am delving into some works that are coming out next year, one of which is The Other
Black Girl, which, you know, that's a lovely title, and another one called Black Book. These
are both novels. They both involve young Black people in the workplace and the kind of
corporate shenanigans and weird racial dynamics that can ensue. So I'm really interested,
especially because, you know, again, this is coming after this year of us really being able
to talk about all these like weird microaggressions and things that we have all known about
and talked about for decades, but the rest of the world is waking up to. So I think the time
is right. I'm very excited to see how these folks do next year and maybe we will have these
authors on the show. What are you reading?

Danielle ​Well, you know, it's only taken me a year to read this. Well, actually, I did read
the first chapter when it was in draft when she was still working on it. But I was so busy
with the everything that I didn't get a chance to actually listen.

Maiysha ​What were you doing? Running The Root?

Danielle ​I don't know. I don't know what I was doing. What was I doing? So I'm finally, you
know, she sent me the hard copy a few weeks back. So I'm finally reading The Baddest
Bitch in the Room by my good friend, Sophia Chang.

Maiysha ​Yes, she is the baddest bitch.

Danielle ​She totally is. It's a memoir, it's about her life in hip hop and so many
other—being a mother and mastering like kung fu, like she's she's like an unbelievable
person. Like it's hard to believe someone like that exists.

Maiysha ​She really is. And she just launched a mentorship program for women of color
ages, predominantly Black women, in fact, where she's garnered—she's taken all this
incredible experience that she talked about in this book and has basically, you know, used
it to form this community of influencers, which I believe includes you, ma'am, to mentor
women of all ages. And it's so dope and she's so dope. So, yeah, I can't recommend that
enough because just for the inspiration alone.

Danielle ​Yes. So, yeah, it's called Unlock Her Potential.

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 Air Date: 12/11/20

Maiysha ​Yes. Thank you.

Danielle ​And it's amazing. And I really enjoyed the program so far and I think she's doing
a wonderful job. But, you know, that's it for this week. So thanks so much to you all for
listening. And we'll see you next week.

Maiysha ​We will absolutely see you next week. And until then, keep it lit.

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