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What noise. Good evening. It is really a pleasure and a privilege to welcome Antonia Logan to launch our great writer and a great representative of the Portuguese contemporary literature. It is indeed one of the great names of Portugal that the Portuguese literature and the Portuguese culture. And I particularly welcome him to Boston when so much has to be done about the Portuguese literature in Boston. I really think that Portugal is geographically a small country but we with a great literary tradition and obviously bringing a man of this standing to Boston is quite an event. I also think that the power of telling stories is one of the most and should legacies of human kind. And Antonio Logan too much has a very powerful way of telling stories. Indeed once in a while you tells us that he has two or three more books to write but I

think this power of telling stories is something that goes beyond him. And I really hope that you will we will have many more books and many more occasions for Antonio Robinson's to come to Boston. Finally I would like to thank the publishing house Norton. For bringing this new book to the American public and for bringing our writer to Boston. I really think that this is a major name in Portugal when we still have many more names to be invested upon. And I would like this publishing house to trust more out there is more writers in Portugal. Finally I would like to think Mr. Russell. It really is a great men. And when we think that 70 or at least some people say that 70 percent of books read in the world I read in English I really think that countries with great literary traditions like

Portugal have very grateful to people like robust so forth you know honoring our books and our writings with this talent and these skills. Thank you so much. I do hope that you will have a great evening with this great writer and Daniel of 1 2 inch of you. And if you think my name is Anthony garam the provost and vice chancellor for academic affairs at the University of Massachusetts Dartmouth and it's a pleasure for me to be here tonight representing the university and also our center for Portuguese study and culture at the University of Massachusetts Dartmouth like the Athenian and the Massachusetts foundation for the Humanities promotes research and scholarship in the humanities by providing among other activities lectures by eminent writers from around the world. I'm particularly grateful to the leadership role that our center for porches studies and culture and its director Frank Susie who is here with us tonight has played in promoting research and scholarship in areas related to the entire lives of phonic world.

The center is participating in this event as you heard as a co-sponsor. I would note that the center publishes several collections including the internationally acclaimed Journal Portuguese literary and cultural studies which is edited by Professor victim Mendez who's also here with us tonight who is the director of a doctoral program in Portuguese studies. I'm happy to inform you that the next issue of The Journal which is in press is entirely devoted to the works of Antonio Lo book 2 News. We're also on to that Professor Gregory bossa the translator of the work being launched its night and a recent recipient of an honorary degree from the University of Massachusetts Dartmouth has accepted our invitation to present to you the single author that we're honoring this evening in his own right. Professor Abbas It is one of the most prominent translators of works in Spanish

and Portuguese. He received the 1967 US National Book Award for his translation of Julio Cortez's novel Jala which is hopscotch in English among his most recognized translations are 100 Years of Solitude by Gabriel Garcia Marquez part of diesel by Jose Les mollissima and the post humous memoirs of brusque boss by Yoko Maria Mikado decease in 2001. The Pan American society on it him with a career achievement award which is the Gregory called Love's award for his contributions to the appreciation of Hispanic literature. He was the recipient of the 2006 National Medal of Arts from the National Endowment for the Arts. We are particularly pleased that Professor Abbas is collaborating with us Center reports. He studies on two major books in translation to be published in the next year. The selection of text from page will Antonia Vieira whose

works will appear in English for the first time this fall and ESA. The correspondence of Frederic Mendez the only novel by the great Portuguese writer that is yet to appear in English. Professor Abbas Oh please join us and join me in welcoming Professor thanks. The wall is my great pleasure to be here. I like to think of myself. And these circumstances. AS. The behavior of. A. Deity that is the European spirit. Who brought messages. From the gods. It is. My privilege tonight. To. Bring the message from this great shot that we have

in front of us here and tell you what. I have done. Couple more of his novels. One here and every time I did them I said. This is. I like this and the essay called me a failed novelist. You are right. Most of you were really lazy. That we don't have to think about plot or character. We just write. But when I read Antonio's things I would say. I wish I had written that. And I think that's. How one should feel about. A lot right. When I read this. Last novel as I translate it which is why I want to say just now I read it I take the Portuguese text and I

read it in English which I think is perhaps the secret of how one should translate in other words I'm I'm cheating I'm writing my own novel and tones words and they said to myself This is vaguely familiar or the way the thing is put together. Right now I'm in the process slow process of rereading Proust after 60 years like first read him in college a big factory condition and going along so I'm going into prose let's say they say this I said this is proof first. But on the other hand this is Proust written by James Joyce. And you get to see the combination that so fascinated me that long. So. In the midst of writing always come

from course until I knew I was. Practicing psychiatrist and I was off for wondering if maybe when he came to write a novel he would go back through his old files and pull every character here and there to make it make it authentic I suppose it could be that way. On the other hand in his work there is a a level of tragedy of course the novel the tragedy. But. This is something else and I came across a quotation of the day that might used to be my first question which is that every tragic action casts a comic shadow.

There you go. Do you think you could have done that. Well yeah. I mean I guess we've been working them since more than 20 used to get. I remember when it was with the other person living. In the 80s. And so our friendship was a very long one. I mean. By them. We'd love them. I'd never scream so it's difficult for me. I'm going to try. I was saying that that was our friendship. STOP of what's a few years ago I was more or less beginning to be published and

then I had a chance to make the breakthrough public school she who at that time was my agent. Was my today. And um. You know when I when I met him he was already a legendary Q. And. It was such a great pleasure and you know Friendship is like love that you met someone and. Instantly you become good friends. When we met. When I met Clem. And Greg Graham's wife Square when there's Greg's way and it was such a it was very funny but we thought very few will kill each other. Almost

like Richard. We talked about it one of those conversations without beginning or end to talk about everything about life. What everything about nothing. It was always very agreeable. Of course I knew his work with Lincoln American writers. I remember Rex saying saying once he said to me and I never I never forgot it. I will never forget that the would languish to write for him were English Porter in Portuguese. And sometimes Spanish because. The trees are very plastic language it's much more easy to be a good writer what you do and in French short and sweet of them are in Germany. It's true because the language is very plastic you can change it you can see it like a living was you know. Which doesn't help with French with all their respect for the grammar and the wave and so one would

have a sensuous relationship with language that I pretty much live in. They're not. So. But. We had a late thing so we with language a different way like we we were dealing with a living body and them. I mean when Greg was was what was speaking I was not listening at him and at his words I was listening at him. And. Among many that many things a very wise man he always was. And when we met each other three years ago we was was older than now because he was. So young. And. You know it's. It's such a happiness to be here with you with us so we tense our. Guest of the. My wife and I was so planned and it was such a joy for it was a book. If the

Although 07 pass. Went so I have again and well and very they always have these years so for me pose any message it's a joy to share. You'd be hard not to be here with him and. You know we would consume thin and say if we'd said material was words will convey emotions feelings life that. The time which is one of my main problem when you write how to deal with. I think a lot of the time was in Africa when I was there during the war for the Africans

at least the Africa had no boss to present and future them they don't exist like that. They exist over there and the large present who contented itself by us to shoot their way I wonder that I said to myself. If I can put this in my books it will help me to solve one of my problems before right thing which is probable for climate cultural deal with that. So it's very curious because. The solutions for the main problems. That's right thing carries with it. In general so simple and the. More beautiful solution is always the best one more simple and more beautiful

solution. That was best and I was saying yesterday in The New York. Leverage Levering you're clever at. That. And you know we're right thing is to translate because when you were writing about translating it the only thing the voices. Inside of you would say of you that's what the translator has you also that was later. We are both as late as we are both really. We we we we try to put in the paper. Voices to talk with us. And when your have this our hand is happy everything goes well. But most of time kind is not very happy. Through the instinct to book a book look at. It anyway because you have rights and not the who.

Is the. So we have both translate those and from voices. Feelings and to write is not it's not difficult. It's impossible. It's simple to translate it's not difficult it's forced. And but suddenly sometimes it becomes easy. When you when you have the feeling that someone is dictating good texts. I think that for Greg the problem is more complex because. He has the texts. That he has to transform that text simply norther cannot transform with it. It's easy it's very hard for me to put it in words and in the language that they

don't. I don't speak well but when people say this is a road this is where. I don't agree with it. Right those are always translate because. It was the same thing because it thinks it's so cute if you must mix it he was on the voices with the voices of that text which makes you stuff even more blood and gore. I'm talking for so long. Why would I. I know I sure what you're driving at. And I was thinking of the same thing that the not just the writer and the trans Razer paying writers both. But the reader also writes. And if there was some way to translate it into some

international or spiritual language what the reader is really reading I think we'd find that each. Each text or whomever becomes a thousand texts. If there are a thousand readers something that the author doesn't know something up to translate something that perhaps the reader doesn't know either. I think that for example when I translate your text I am not doing the same thing that it's not. It's an imitation in the way Robert Lowell liked to use that word. But even when this a rather close translation is I like to do. It's not the same thing. But then when a person picks it up and reads it in English my friend he's English. He said a third removed.

But that's Person A Person B is also a third different room. And now we've got already got four different books. All the same text. And I wonder if they couldn't be the basis I remember who you were. I think you know the night you're talking about words and I don't like to think I like to remember what make French poet. One said to his good friend in God when the guy was complaining and said But this define I. I love to write poetry but I don't I can't get any ideas. And I wasted don't care they got. Poetry is not written with ideas poetry is written with words. I wonder if you think of that in writing prose

fiction. The word itself once you get. In. Yes please. The best was through the booklet grooming groups. We. Are. Both poor women but this is important is it implies we use. It. You. I only have one voice. With my voice here. Well my book so full force is. That I've got it there that all these voices. I don't know that them. I don't see them as persons. You know the people who were in the book

which are not novels of course. I see them as voices and then the description almost of these people sort of physical descriptions almost even names in the book. Who's going to do to come out now in Portugal. Nobody has and then only that. But nobody has and more and more. I try not to. But because I'm not dealing with we with people I'm dealing with my inner voices. We I think when Greg was what was speaking I was thinking that we are working from the uni in a kind of a front here in front of the elite they didn't know if you can say like that. And the future and the unknown I was more or less quoting couple in their friendship or what but I think that our our work is like that so. That's what we do. If my voice is different than he was having no.

I hope with some voice if translators would if use of by a talented man or woman. I'm sure some voice. The problem with with with I think my main problem is I'm very much afraid of some translators because the music of language but she is a very musical and sensuous language in my opinion is that. Can be lost if there's a way that is not good. And also the different culture I had lots of problems for example with. The other translators I mean Swedish friends even German because in Portugal people from social levels are still very very very very marked. Speaking different Portuguese and so on so there's a game between all that. In the books which is very difficult to do please weigh in the in the in different countries. Who will them deal with those problems. Because. I

live in the you know in a poor country and where there are lots of Portuguese is it. It's funny because. It was a small country I think it is a small country for me to sort of be. But then as as you know very different cultures even even of these when for example the different social level this picking from Portugal and so on and. Things like that they're very difficult to give into the language. Happily. Here Greg he knows that through all that because he knows very well let's in America Portugal pursue this one. So for him it's more easy to understand that than to read that I was I was told that. His sister's relationship and his work on them. What shall I do. It's a very good one and I'm sure it is because if I thought that and then

I remember the problems are that he and his book and the letters he changes we change about for those and then you move the book. It was way to the book I was told it was rigged. It's what's what. Surprises me more and pleases me more was that it was between us all between between us and that what that was. A kind of organic comprehension kind of kind of forgotten a complicity you know. And that was so it was a very happy time for me because I'm. You know the main things that books can bring to a man. Use the unknown friends. So you write to unknown friends and if you are lucky you get an old friend. Sometimes I wonder why the weather people write because it's so difficult to write

and them. And I was thinking about Mozart or when he played to Marie Antoinette. And everybody was blah blah blah blah blah. And he ran to the queen and he seated in the knees and he said please love me please love me please love me. I think every writer. There is that kind of prayer. Please love me. It never bothered me. I think every one officer when I was a book. You never questioned what I saw or whatever this was please love me. Nobody nobody listens to me nobody looks at me. What this is you know what they know what I am and whether my husband my wife my. Son my friends I am so lonely. I'm sold on them so long. And so finally perhaps or drop two books.

Is to share loneliness you know that people can be alone with their own suffering with their own choices and with their own fear of death and off life. Because I read it it was one thing I remark of when I was of the. People who had a very good life they were not afraid of that they remember and three things. A professor of the new voice your surgeon purpose of surgery who was dying with a cancer in the troop He was 64 65 years old. And how did that time what they call the psychotherapy of death. Thank you. And once I asked him Are you afraid to the truth and he said no. I had such a wonderful life. So the few that vary with fear of flying and them and the

fear of fright thing is always in my way. The Levys vary in their jobs but those. Those who don't leave the contents of the day. So. We're going to be alive when one of the other views but I would hope. I was. Wondering about the your first novel to come out in English to school to you which I forwarded on that. An idle thought is that it was portable after so many years of a straight laced dictatorship and more ality and so forth. And there in the bookstores in

Lisbon is this scabrous title was cause diesel died here in the United States. I've seen comparisons with salad but you go there was a lot more freedom. The publisher didn't have the guts to translate that into real English. Because it was a military story. And in my experience in the military was that if you were in the faraway place you referred to would very similarly. As being in the nether orifice of the Earths. And we even had songs that rhyme in that way. I happened to start my training in Texas. We had a parley with you

probably about Texas is a hell of a state. Etc. etc. the you know what of the forty eight. But I wondered if. The. War. The. Military experience could've been kind of a level leavening use to talk about life. Fraid to die and. So forth. Whether the circuit gave you a new attitude on how to look at. People living and see them a little bit better than you. I remember years too. We had this resentment after you'd been in the Army along with you. You separated yourself from what we would call goddamn civilians

and you would get angry at them for not living. It was no Probably these were not people who were trying to. All they want to do is to live. And therefore I have a feeling stronger feeling for life. Could that have affected you when you. Put it into words. I saw it and. The book you know. And when I went when I thought of the book I wanted to speak about a relationship with you know men of the woman and marriage and home. How Marriage can be a bloody war. Killing each other. Also during the week is more easy than the other they're going to would look at them homey. But then comes the horrible weekend south of the sun they've been long. Hollow wasn't home wasn't home.

There in front of each other. If a man if I would divorce you would be happier if you with and never ever ever each one looking at the other one it's very funny. Because the. They look at each other as enemies. And them when they're not making love which is what I see that it's this it's so boring and then so when I did the first version of that kind of material and that I thought that I could make a counterpoint with some episodes of or for war. And war and you just a show called those those two wars could be equally bloody equally cool equally violent. Wolf the. Poster you wrote one seems he welcomes you in his diary

that he might need to have them. When I went through so many disasters I thought of diseases of everything but the great disaster the greatest. The greatest misery of men and women was the misery of the bad. And. Most of the misery of matrimony Perhaps it's a very dark vision but. After his death. His wife wrote to me in her diary and called that scroll. I lived for three years we lived Nikolaievitch and I didn't know what kind of man he was. This is horrible. And so the book was like that because you can speak of all. I respect too much to the guys.

That because because of that I was very like Harriet and the life of Queen despicable was four years in the army and 27 years in and Africa but that I did that I could write the book or to work with her. But that. But but the Levys also. And to write this is such a bloody war. Against the words against difficulty of material who resists all who doesn't want to be him. Put in paper who can put it. Because all we try to do is to put the whole life. And some sheets of paper and. And to give. To our oh so fringe

and so frigid existence of reason and the problem of course that I'm proud to be a man when I read some books when I look at some bank things in them. I. Listen to some music I'm proud to be a man and I'm sure and it's such a victory over suffering over death over minor feelings like. And if you like and gratitude. And so on. So we work with it with all those materials and so we do the best we can. But it's it's so difficult to write. It's so difficult because we are working with them. With the deepest. Thing we have here the parts are false selves and most of them with parts of four so that we ignore when. We.

We're like children. We know more than we think we know. And them. There are lots of doors in the doors that we don't that the world we know that they have been through we searched there in the walls where we know there are no doors. So and we have because as in the east we. We're always leaving towards the pieces we're very much afraid to open our inner goes on and rainbows and so on. So I think that what we're taught can give us open windows and open doors from past so first of all to that we are afraid of knowing that we're afraid of deal with. That what afraid of leverage and to whom to give to to the reason in our case. And dignity that most of time we don't have. Because we are afraid. For example we are much more afraid of joy than of

sadness because everybody knows was sadness with joy. It's so much frightening. I remember entering that in the hospital years ago what a few years ago and the guy who was a poor saying said good morning and he said. Very happy to furious. Because I was happy. It's so difficult to. For many people sometimes the support of the people happiness. I'm very much in love. While the mill she would love to love and I'm saying this because I'm your friend but they care because you will be in the capital of the VA. Even sometimes with friends it is difficult for us to deal with that happiness. This is really funny very funny but them. You know. We have we're trying to and this is very good press if you read

to be pretentious and so that we are we have dealings with. We have been trying to give people the authentic you that these because we deserve to be with them. My father died four years ago at the liq family a Catholic priest. There were several months down the course who worked with me who was a doctor in the hospital of the nun saying your father is in heaven your father is in heaven and then a priest came and he said the mass. And he said they hate this because we are not made for that. We have made for him for life. We are not like this in front of my father but. Your father was not my right to be that it was meant to be a life. So if we work well

perhaps all will fall. We will what we will be Im alive. Forever. Because when when should compose us is that we are posing with him. When Velazquez paints we are painting with him and when a writer writes everybody's writing with him. Your question of the war marriage. Reminded me of the Brazilian writer Dalton Trevor's. Who wrote. These little stories about what he called the domestic war. Which is the cruelest of all. And all of his characters were no matter what the story was they were always drawing my idea.

And each one was this terrible battle between and there was no solution good woods. It was a meaningless the same as a political war essentially meaningless when you come down I like to think of the characters I think of human beings who are terribly arrogant species. I like what Stephen Hawkings and one of the wise men at least one of the most admired men the wisest in the world has said with nothing but advanced Minky is theirs to making because I've been influenced by the spectacle was all. And I wonder if as if as a writer.

Writers see much deeper deeper but I can smell this out that people are different from what we would say what we normally think people are. There's an opportunity to to expose. The novel in the sense as an exposure you think you would if you were exposed to anything that someone might not have been able to see. And I was thinking when Greg was picked knowing. Was thinking what. Well what the books I read. Because I love to read the writers and other business and that they're very happy made here good to reveal as a pure pleasure what they brought me.

I mean I mean I think the good books I read of the books were important for me. I learned a lot about myself with them. They were written for me. They were written for me. I think that when I was 13 14 years old I thought that will slow you on the road for me. So I haven't been I didn't check my books with anybody because I was sure that the other copies said different things. Those one written for me. Went all the way to go all wrote to you only wrote from your circle of plays were written for me. So there were such a personal relationship because their review was myself To me it was very important that I learned a lot of all. About myself with the wildlife and the both the others. And it's very good because when we are. At the

infancy of the myths and we have never had a problem like conception of the world the center of the world and then we books we discover that we are one me. A part of the land. When me I'm. A man between of them and. That that's all I'd learn that in the books and that that was very clear for me in the war I was on the boy between the boys trying out of the thing that's proved to be alive. The next thing and to come alive after this nightmare and that and then I learned what Sherry meant with books. I remember the first time I read Mark claim the years old when that hooker would you know what the lesson that they take with them the stamp cut we pose a

very very. Great who and how his hand was. Happy when he did that. But there it was the joy and the life he knew. For a 13 year old boy then I thought. Well I can have a MUCH FOR THE LIFE. So I thought lending it well myself in the world and then that I was a pure joy you beauty. You go to work. But you beautiful thing. We have no you only step of the nineteenth century the romantics. But anyway. Speaking again about my father. I never think I don't think very much about him with I'm sure the people

that were abusers memy he will be happy that this big welcome anyway. He better thank you man. A few months before he that we have six brothers one of my brother the thing what to do. He was a little pathologist a man who worked with corpses. What do you want to leave the US and. And it was very very critters for me ever never forget that that came from a doctor for a man or a pathologist. He's the love of beautiful things books thinking music. So I mean. I think that my brothers in the room with her must be very grateful that the man who had. No sense of humor who was not critical of the who was a common man. We are all common men but them at they

denying his desire was to his sons. I would share with you. The love. Of beautiful things that. I seek now. Might be the time to open up the floor to a new questions. That's not my book and I mean that's not beings who can still book. How big because when you're reading it you're right thinking. So that's your book. That's not all of the film. Because when it is the effects of a book is full of silence in that same place you write your book. So that you will. And in the room. We talk the book that the rest of the OR SOMETHING I think that it was the name of three the who should be and covert not the name of your two it's really because in child who cannot or will not Greggs will not

my will you chill. I agree and when you are you really think it through everything you write writing it so it belongs to you much more than. It was. To Greg and me. What makes about the right that is who gets his hand. His capacity or for. Right this. Problem is not to write poems to rewrite. To correct and to rewrite what's makes the better writer is that is is we're patients. You need three things to write what seems like things are just right something Haitian problem and solve it to you for just three things. Solitude loneliness. Who do. The senses leave them.

Even if just for this cruise for them. There are the those three things and some chorus for moments of. Despair which I also frequent because of you you are doing it. It's not that it's not it's not this yet but I must work it it's like this is not this it's not this. I must do it the game is the thing. And then the. The enormous joy it's the world it's this it's this is that. But the two had to have the joy you have to suffer. I have had a friend of a poet she was reading. Music of this piece of that and years ago who is at the say you know I think we must suffer you know that the reader can have joy and enjoy what it will. That's right being an old tale we're told of the village idiot who kept

hitting himself over the head with a hammer. And they said why are you doing that because it feels so good when I stop. Not my my profession and as a local. It was not important for me it look I was the. One who created in the Brazilian way and the Brazilian family. I was the eldest son so I was the eldest son for the doctor so he wanted me to make medical studies. When I was 14 he asked me what I want to water what do you want to do is how they want to be right. And she was of a Democrat so he said OK you're going to study medicine. So it was so I was here when I was 16 length of the new version was that the Mets and he argued that if I said that it meant something to supply and structure. So I did that and I stopped liking it when because

the first few years a corpse corpse or some of them then it was a living people. So because. Then there you were. And. Look I was one in the family. With privileges. So and the eldest son of the eldest son saw everybody was alive. My grandparents were 14 years old or something. And so there I found suffering. Even know within the stand the existence of suffering. Well but it was difficult to to view though through and through and through right through. India 80s and 90s and remember well. I quit that because I couldn't because I couldn't come to the hospital that they let them go. PM me and starts writing in to 4:00 in the morning I was killing myself Saul and I.

What I wanted was to write. It was not it was not that thing if it was not that this is like a through writing through the feeling that there was a heavy shoes and I don't know how to explain it because. The programmers who when you don't work you feel work. It's Lapworth you feel very guilty. I feel very group of them. Look I am I never talk about any living writer. Even if I like even if I don't like I don't poke a hole under the rug. You want me to be. This is a very funny question. Oh every punchers person ask me that. So I think that we are kind of for a lot of them hard the aura. Well then what.

Do you know. Oh of course you didn't. Bother No. One will know when the company being. A. Hit. I'm not criticizing you. I don't criticize anybody. People don't move don't need me to suffer this stuff about themselves alone the world need my help. I think that's all that here and that's they thought when I was in the war. We were five officers in my company of course. And we're we're very near from there so it was morning at. 5 and 6 and it was night at 6:00. That's very sad and the transition is very sudden. So we will use it to be. Well the attacks usually start at 11 p.m. So

we had dinner at. 5:00. And we were. Attacked at the level so the time between then and that that was very very difficult for us because we knew that more or less about 11:00 it would start. Well and one day one officer came with the book of poetry and after the in and before the attacks we read aloud poetry. It was first time I understood that the book would have an effect if. And. And to give to those blind poor men that. A sense of dignity. And so and so this is one functions of God which I didn't know. Which I didn't.

And he came in the Captain. So one captain follow up once you put the rip. Reproductions of buy in the walls. But we were very poor so you could see in my thesis you could see Picasso could see things like that. So in a new way that you know we know that given givers in the NBA give that gift to all lives in dignity and incredible dignity in that you can't imagine how the book of poetry was important for us. It was very important. And to read poetry a lot. I suppose that some of those officers never they were not even very quickly vetted they didn't like poor with us so. So the bully everybody liked pull with you because then we were mad. We're not beasts killing and we're there to be to kill and to be killed. So the only woman

in the world dignified by the by that book. When you when you write. You remember that quote This isn't about them. Bjorn Borg. Then is playing. You know. A critic says. That the frisbee on board and the other players. Is that the others play tennis. He plays another thing. So you don't know from where with your voice and I think that conforming to it but it's not the voice it's a scream. Even Silent Scream. Into things. That's the difference between humans and fish. Can you measure what that great sport or fishing would be like if fish

could scream. Think of that next time. You know if we are poor man. Dealing with a creation that exceeds others and then all of the books are bigger than ours we are just a woman fighting against. A creation which is bigger than us. Because I'm. In. The good books we can do. They're bigger they're better than us. We are poor men that do that in the. That's the miracle for existence of the sun has come we serve the beast that the pumpkin. A small animal of the earth. A soul is all we. Can do those incredible marvelous things which has defied our lives and who can save us. Of the church.