Thank you. Thank you very much. I'll try without a mic first. I did have a small cold, so if I lose my voice I'll revert. Thank you so much. Yeah, thank you. That would be great. Thank you, Shay. So I'm so happy to be here. We have been in touch for quite a while. Now I feel as I'm betraying you by not doing a talk on life-writing. Yeah, actually I'd love to do it. Love to think out loud about life-writing. Life-writing is another area that I'm developing quite a lot at Hong Kong New. That name has changed quite a bit in the last years. Of course it used to be called autobiography memoir. Then it just sort of expanded, and so now I actually went to a life-writing conference not long ago, and there was a juggler doing his life story in juggling.  I grew up on stage as a child at Fevin in Vaudeville. So I thought, oh, I've come to the right place. So I was going to an academic conference and who should I meet but a juggler doing work on life-writing. So I really look forward to joining you and thinking more about life-writing here and across the city. This, I know it's late in the day. I hope you got your cookies and drinks.  I direct the theater. I don't know if some of you see that in the bio. I founded a theater at Hong Kong New and I also direct the MFA in creative writing. So I'm often teaching classes for three to six hours, which is why I tend to lose my voice at the end of the semester.  And so I usually stop class when I start to see everyone getting really hungry. And I start to look at everyone starving. It must be time to end. But bringing all that here today and to think with you about this sort of session is more on creative writing rather than, life-writing is not exactly that, but it includes elements, as many of you know. Today I'm thinking more about creative writing and in particular storytelling. I've, I was very lucky. I was brought to Hong Kong New for many reasons, one of which was at the time I was doing a lot of work in American critical studies, but then I was asked to reinvigorate both the drama program and the creative writing program. But that brought me very much back to what I did as a child speaking of Audible, which was to tell stories.   Meanwhile, the guy with three balls going down to zero, he was doing down to zen juggling. Three balls down to zero, he got all the, all the, not only all the attention, all the money. So I learned very young that you actually don't need a lot to be a juggler. You kind of only need one ball and you need a good story. So I was then, as I grew up in storytelling on stage and in drama and in theater and in vaudeville, when I got to Hong Kong U, I was asked sort of several years into that to start up both the new theater and an MFA. What's really beautiful about being here and thinking about stories is the assumptions of what constitutes a story are just non-exec- we make assumptions about what constitutes a story. And I actually got my own MFA back at Boston University and I had studied with some of the top, you'll see them in a moment, some of the top writers. I studied with three Nobel Prize winners, lucky girl that I am. And what I'm realizing as I was starting programs here is that what constitutes a story really is, it has, it's not what we were told to think or ours to think much about when I was in the US, but there's a reason not because I wasn't working with top people, because it's monolingual. That makes a big difference. So when we're here and realizing that almost all of our writers are multilingual, suddenly what constitutes a story sort of broke out from all the assumptions that we had been studying, thinking about. And I wanted then to talk about genre in particular, because at MFA, for instance, as you know internationally, especially in North American models, you are admitted as a storyteller in a genre. So in the graduate program, you're admitted as a fiction writer, or you're admitted in poetry, and you don't normally in American classes switch genres. And it was interesting to me when I went to Boston University because Derek Walcott was there at the time, and he was doing drama and they didn't know what to do with him.  So he opened a theater and instead of calling it a playwright's theater, he called it the poet's theater. So already you're starting to think about mixed genres with Derek. Of course he's not from a U.S. context at all. In that mixed genre work, and so I got to study poetry and drama with Derek Walcott there, and thinking about what constituted stories and why, what constitutes a genre. When I was, this is, and then I'll start this slide so you can see more pictures here. But when I was studying with Derek, and with many of the other writers there, and sort of talking about expectations, the expectations were, because it's different in the U.S. in which I had had creative writing classes when I was in elementary school, and some at least, when they were teaching a genre that is the shape of a story. So you can tell the story in a short story, you can tell it in the shape of a longer fictional work. You can tell stories in any genre. But no matter what I was told, because I'd been in that monolingual English language context for so long, there was no, it was in between. There was no sense that genre were rules, not word for word. But on the other hand, there was just a sense in which they were carried over. To make that point more accentuated, I went to Hollywood, I took a detour from all of that in Boston. I went to Hollywood and worked for Tom Cruise. And so I worked for the Tom Cruise and Paula Wagner Hollywood production company. And what was interesting there is not only where there are certain assumptions about what constituted storytelling, so you could immediately enter and begin to learn your genre at advanced levels. In Hollywood, you can make millions of dollars giving storytelling classes on models, which I'll show you in a minute, just, they're called beat sheets. Beat sheets, and those beats are what they tell you will make a successful movie. So it's sort of genre reduced to something like rules to help young screenwriters make money. But I was sort of struck at the time that, fortunately in my Boston University program, it wasn't rule bound, but there was still an expectation that what we're learning would constitute a story. So we're going to look at now in the time that we do have, and I'm not keeping you for three hours until you get hungry, but in the time that we do have is, I want to talk a little bit about what I've discovered here, teaching and multilingual writers, and how amazing, the reason I use full of wonder is, because the conversations I have in class are like no other. When we have visiting lectures come from Boston, and many of my colleagues come from BU, they never want to leave our creative writing classes, because the questions that come up never come up in the US. That doesn't mean there are other interesting questions that come up in the US, but they're not like. They don't have similar to do what comes up here, because the question of what makes the shape of a story actually is quite historical. I was very lucky when I studied at Harvard for the PhD, that I had to take six courses in the history and structure of English language. At the time, I wasn't sure why I had to take so many linguistics courses as a literature major, but actually Harvard's English department is, you get a degree from the Department of English and American Literature and Language.  There was a kind of linguistic element, but not so much in what we think it was actually the history and structure of the English language. Genres like a juggling show are a kind of expectation, and that expectation is an invitation to a certain kind of shape. When I was taking the history and structure of English language, I realized there are expectations that the English language invites that when I came here later, I realized they are not what every language is. That's, of course, an obvious thing to say, but it's very rarely done that you look at genres through history, because normally we just say, and I'll show you in a minute, normally just say the character has to make a change in a story. I'm reducing it a bit. Or in a poem, you have to have a turn, so to speak. But those questions about where they come from and why do we have these expectations, and are they universal or are they not universal, or where is this beginning? That brings me to the beginning of this slide, because the question of, the question of where do genres come from? That's a real question. Where do genres come from? Because when I would talk to some of the students here in my creative range, both the graduate and the graduate classes, they would say, well, why does my character have to change? Now, of course, that's a good question, and there's no rule that a character has to change, but there is an expectation in English language stories, so that we begin in fairy tales in English, translated from German and French, to say, once upon a time, you draw a line in the sand, and then the expectation is the character will undergo a change. But the question of, does my own character have to change is a good question. It's actually not a silly question, because it's not as easy as saying, you can if you want to. You can answer a lot of stupid answers to that question, like, well, you can be experimental, but what are they experimenting on? What makes a character change, or what expectation is there, so that in fiction in English, we expect, we expect a character to change. That's different from saying we have to have a character change, and that's quite different. So one is an expectation of change, and one is, do we have to have it change? If we turn it to having to have it, having to have it change, that's a rule. Of course, there's no such thing. That doesn't exist. Characters don't have to change. But where is the expectation coming from historically? So, you can see some of these examples in English language history. These are not the same across not only Chinese and English, for instance, but even other sort of Indo-European languages. These are just some of the shapes that we think about when we're teaching. And more importantly, these are some of the ones that you can enter on an MFA program in the US. So you enter on poetry, or you enter on drama. What's interesting here, I put it in this order, is this is more or less in the order of birth of genres in English. So that's very, actually something most like MFAs in the US don't need to talk about. Somehow it's in the assumption we would get that in school. But in truth, poetry is actually, poetry and drama are the oldest forms in English. That's actually essential information if you're going to be a writer. And especially a multilingual writer, because the expectations that come out of poetry and drama are one thing. They come out of the medieval period and actually after what we call the post-conquest, post-conquest poems, post-Norman conquest. So you get poems that are produced in English, French, Latin and a mix. But later on, after it moves from Old English into the Middle Ages, we get poems in English, but they're in the Middle Ages. Those are earliest liturgical and they take place in the church primarily and also drama. Only hundreds of years later does fiction appear in English. So the birth of fiction is much later, much, much later. We'll see why that's so important later. And then by, so fiction, of course, these are lines in the sand, but fiction is often talked about as the board in the 18th century. Of course, there are a lot of fuzzy lines on that if you talk about edges between journalism and anecdote and penny papers and so forth. But basically, if you're taking a sort of long view, fiction was born in the 18th century. And then something like biography is more 19th century. Of course, they didn't have movies for a while, so you wouldn't get screening. But that, but we'll come back to why that's so important. Creative nonfiction actually draws, of course, creative nonfiction is what we're hearing about earlier on the essay. And that, of course, has a much earlier birth, but it's recently flourishing. And it draws very deeply from poetry. OK, but we'll come back to that in a minute. This many of you recognize as Sheamus Heaney because what I wanted to mention about genres and expectations is what do we have to, if we, if, what do we have to know, if we don't know sort of what, if genre is a form of expectation, people aren't sure what and you take away that as a rule, which in Hollywood, there are many of those that you can teach screenwriting by teaching X, Y and Z. Then the question is, what are we teaching when we teach creative writing? That's a big question. And academic institutions ask it all the time. And there's a really uneasy relationship between creative writing and critical studies in most academic institutions, historically. Sheamus Heaney was one of my teachers back at Harvard and it was very interesting because as a PhD student there, I was not allowed to take his courses in creative writing because the discipline was so, was so different. Now, why would I not be allowed to take a course from Sheamus Heaney? Partly because they were saying that, you know, creative writing can't be taught, but scholarship was a research endeavor. Therefore, they were sort of a historical university and we could only get degrees in which we could look at research. Not only did he teach creative writing, he taught critical studies. He taught modern Irish poetry and I was the T.F., the teaching fellow for it at the time and I looked at all the peer reviews afterwards. This is a course I was not allowed to take as a graduate student either. And it said, one of the undergraduates wrote, taking a course from Sheamus Heaney in Irish literature is like taking a course in the Bible from God. And I thought, I went to the president of Harvard and I said, I want to take the course from God. I want to do it because how long will we have, this is before he had won the prize, how long will we have someone like Sheamus Heaney teaching us Irish poetry? But of course, this uneasy sort of feeling about what constitutes sort of scholarship, what constitutes, what it is we can teach at all in creative writing is a big question. Derek Walker, that you can see, as I mentioned, at Boston University was also had a struggle because he wanted to do drama, which was also considered too performative. So again, the question is, what is it that we teach when we teach storytelling? Now, this is a very funny quotation I wanted you to see because this is from Lamarck, who as many of you know, he preceded Darwin by a little bit, same period. And he was talking about evolution and what it is, do any of you know a spontaneous generation? Did you study that in science class? So Lamarck felt that we were always in the process of getting better. So you can make, you can make, you could perfect the human being through any sequence from lower organisms to higher organisms. So for instance, in this case, he felt evolution was if you put hay with a sweaty T-shirt, you produce mice. So it had the idea of perfectability about it. So if you put these things together, you get a more perfect sort of result. So the question, so like this, this, this theory of evolution about how it is that we get, James, you'll recognize this, we have a writer here from Iowa. How is it that we get creative writing? The idea about Lamarck's theorem was it was not evolution. Lamarck's theory was you put things side by side.  That's sort of the idea. Of course, research institutions didn't want any of that. That's because it's not argumentative enough. It's not logical enough. Of course, Lamarck was superseded by Darwin. Basically, what Darwin did was to say, there's no perfectability in evolution. There's only survival of the fittest. So he wasn't, he took out perfectability. But more to the point about early at workshops in Iowa, this was on an early, during the founding of it in the 30s. Though we agree in part with a popular insistence that writing cannot be taught, we exist and proceed on the assumption. So that's like Lamarck saying, we can't ever get to God, but we can get mice out of sweat. We can do better. We can do better if we just put people in the same room. So we exist and proceed on the assumption that talent can be developed and we see our possibilities and limitations as a school in that light. If one can learn to play it, one can learn to write. Again, they weren't sure how and in the early days of Iowa, just as it was true as Sheamus Heaney, exile was sort of the norm. So there are a lot of barracks where the writers were put, not with the academics. Sheamus Heaney when I was there could not go to departmental meetings because he was not in the argumentative field of literature. He was in the other side. So the sort of side by side view of Iowa, which was very, which was a breakthrough at the time was to say, OK, we'll just put people side by side and see if we can get some perfected writing out of this organization. But we won't say it's taught. We won't go as far as to say we can teach it, not quite. Here's Menon that you might know as a Harvard literary critic. It's quite a long thing. Sorry about that. You can glance at it. But the one I want you to look at is to say people who take the second one, who take creative writing workshops, get course credit and can ultimately receive an academic degree. You can see the tongue in cheek, but a workshop is not a course in the normal sense, a scene of instruction with a body of knowledge that's transmitted by a curricular script. So Menon, Tony and cheek was saying he actually attended creative writing classes. Now he's a Harvard academic and he was saying, yeah, something happens. It's sort of like Le Marc. At the end you can say you can say there's one person, the instructor who's usually published a poem, but workshop protocol requires the instruction who shepherds the instruction. Notice not to teach it. Shepherds it. Not to lead it. And in any case, the instructor is either a product of the same process, a person with an academic degree or a successor has no training to teach anything. So you can see that deep reluctance in creative writing, which is because it comes out of Western history as well in binaries, which is either you're a genius, you know, right? The genius, right? Or, you know, on the other side of how we how we get knowledge. So and that's also part of the next slide. When we get now we're getting to what's really fun to see what comes out of this. So there was there was one thing I want to show you here. Yeah, so the question of what constituted these classes was just so important to back to where we begin, which is, first of all, can we teach creative writing? The big question, man. And if we can't teach it, can we shepherd it? Many of you will notice the biblical diction on that, right, which is, again, sort of the kind of innocent embodiment leading the sheep. But you won't say exactly where the transfer of knowledge comes from. Then you get the Harvard critic talking about sort of, you know, his sort of skepticism that we actually do teach it. But maybe something will come out of it like a mouse. We may get a good mouse out of a creative writing class. And then we come back to this question of sort of the professional writer. Can you train it or the sort of create the nature versus nurture question? This this is where this is where the where it's so much fun and comes back to multilingual writing. When you go into fiction, when I was in my fiction writing class in Boston University then, coming back to what can we teach? Is it can we? And the debate goes on. My my hope is that history will help us think more about it because history is rarely brought in. But this kind of diagram, do most of you know this diagram from creative writing? It's used in Hollywood all the time in different forms that has so many. There are so many pyramids out there. There are triangles, slanted triangles, upside down triangles, right? And so technically you can experiment with that De Numeau. You can have an early climax. You can experiment all across the shape of this triangle. But deep seedily it comes out of this. Fry tags pyramid you can see and sometimes they call it climax. Sometimes they call it challenge. Sometimes they call it conflict. And then you see that pyramid. That understanding of fiction is actually something that this comes from a book and a class I was teaching where you can see on that. Here's a here's a check mark another form of the pyramid where a character in fiction will undergo a change. So again, many of you know this. So I don't have to go over it. Cinderella is often taught as one of those first ones. So Cinderella basically has to it's a very old fairy tale. She has to produce an heir. So if she doesn't marry things won't work. So literally she has to eat a comedy in the oldest form of that term. So she has to perpetuate her community in the living stream. But she is stuck. So all her obstacles are on the left. All the things where she negotiates her social world until she gets puts the shoe on and they marry of course what they marry designated in an early fairy tales is that reproduction is on the way. So she has she has performed that comedic role. Again, she goes through a major transformation in that. And so you hear a lot of creative writer teaching somewhere between shepherding and teaching. They'll say something like this structures the art that conceals you only see a structure in a badly structured story and call it formula. So that's the problem because the last those pyramids often people think. Do I have to follow that because it's sure it's introduced a structure but it sure looks like formula. And especially in a multilingual context. But why am I following a pyramid like it just doesn't even have resonance not to mention sort of logic because it's renamed the diction changes and you say we're going to teach the structure on the fry. When you give the name fry tag diagram on a German name it sounds much more structural. Right. But if you say you know it's like doesn't it look awfully like a formula. It feels like a formula. When you are teaching this with no underbelly that thing really looks like a formula. He's trying to say of course that if you do that well no one's thinking of either the pyramid or the triangle or anything else. But nonetheless when you're teaching the writing and the construction right writers are makers. If you're constructing that writers will begin to balk if it doesn't make any sense for them about why they're following that pyramid. This takes us back to where the only thing I want to get to date. This is it before dinner. This is this beautiful. This is Pilgrim's progress which many of you know was considered arguably one of the first novels in the English language. Pilgrim that is Christian. He's named Christian there. And if you can it's hard to see this but he has to go through the seven sins. So you see you have these conflicts that have to happen for Christian and he has to go through each one before he gets to the middle which is the celestial city. So of course what's going on with Christian and why do we why are we even thinking about your genre. Why is fiction born with Christian. What what's going on between that pyramid and Christian. All of this is very historically based on you can see where Christian and the triangle come from when fiction was born as a language in English language history. It was after the reformation we know and many periods after and individualism was becoming much more important. We know there are a lot of theories about that period. The rise of the novel by Ian Watt bourgeoisie all of that but mainly in this context you actually have an individual negotiating the social world. So the priests were let go on the Catholic era and you have a single because in most drama and poetry of the Middle Ages as you know it's not singular like this. The idea that you'd actually have even one character that you'd focus on it's just emerging in English in this period but not incidentally and not because someone named Freitag it has nothing to do with naming anything. Naming is irrelevant. Every language every cultural history has births of genres and they don't appear at one point and then they do appear. It's not a matter of someone naming it or it's not an invention of a single author. It's not someone saying is that the rule and now we'll call it by that man's name and you know give it an experiment and give it fame. What's really interesting is this climb is exactly how pilgrim how Christian was visualized which is he was climbing up a hill and very much it was considered two things three things that are important for fiction a it was a period of considered what was progressive very rare at that time in English language history because that progressive notion was born out of that Calvinist and Protestant movement where history has a progressive you can basically what goes into the by like help those who help themselves right that sort of progressive element was born in this era post reformation when you have someone first having ability to progress it's an upward movement it's an upward movement and almost every image that you see in the earliest images of Christian that come out. Secondly it's linear in time this will make the most difference the last remarks will say at the very almost that it makes a big difference it's linear because in the linear negotiation it's why you can go like this right so that he can get rid of lust and he can get rid of sloth he can get rid of these things one after the other and make it at best if he negotiates each of those he can make it to the celestial kingdom. So the fact that it's linear the fact that it's progressive the fact that you even have a character at all at all is absolutely born into fiction is born into a religious and cultural moment in English language history. The act of transformation that Christian undergoes is what they later this is someone you might know called Rust Hill. So you get this stuffing creative writing classes which I got at BU and my own word says it's the moved character. Let us call the character to whom the events have consequences the moved character. But of course the characters the other way around characters moved individuals and moved out of the coral and community history in English language in the 18th century for political and religious reasons. So the birth of fiction is absolutely an expectation of transformation that's biblical in its root. That doesn't mean every story of course now is biblical or religious. It's root core in English language expectation. When you get fiction in English is you will have transformation on a moved character who will overcome social obstacles to undergo a major change. You often hear this in creative writing classes. Your character has to go through in a revocable change after which nothing is exactly the same. It doesn't mean you have to have an earthquake fall down. It just means that that moved character is not exactly the same and never will be again after that character goes through. But of course that's Christian. That goes back. That's what it doesn't come out of it. So when I start to talk to some of the undergraduates and the MFA students at Hong Kong U and I say this is where it comes from. They feel so relieved. They feel so relieved because their expectation that a character would change doesn't have any necessarily historical counterpoint for them. There'd be no reason they would have studied Calvinism, Luther, Reformation, English history in the 18th century. The ways in which transformation as a word sounds very contemporary or, you know, like Nike, let's do it. We go through this major change. Actually it goes back to biblical typology. And in that typology, it is very linked to the King James Bible, which is in turn linked to the act of typology which followed and how we studied it. And this idea that a character like Christian, what A, A progress B, move up. That's what many of the students I teach in creative they don't want their characters to progress or to move up. That has no instinctive sort of Velcro for them. And third that it's linear. So it's just this amazing when we go back to history, creative writing classes sort of start anew because instead of feeling as if instead of feeling as if, you know, am I writing in English, but should I be writing in Chinese or actually the thing is every language languages and each one has these sliding scales of beauty out there. When they start to understand why change is so important in English language history and that English language like any language is open to everyone and all of us, they become more interested in where genres come from in Chinese and where expectations come from in every language. That that core understanding that genre is not a set of rules and it's not a formula and it's sort of a structure, but it's only a structure if you go back to history. It's not a structure that's invented out there that you can then just sort of push out onto so what and say, let's try this structure and make a mountain today because they'll become bored. First of all, who wants to just keep making a mountain when you're told to make them right. It has no internal resonance. Second of all, it may or not be the story that actually fits with them about their wanting their character to undergo a Christian biblical root of transformation in linear progressive time to skip ahead for a moment. So you're making sure I don't cover the how much time do I have.  Watch out. Okay, great. Thanks. So yeah, that that that instinct about, you know, about storytelling suddenly they realize we are all we all have this raw material, but we all without thinking of it are culturally and locally charged, very young with what expectation we come with when we think we're going to pick fiction out of of the shelf. It's like going to a video store in the old days when there were video stores.  It's just your heart was had expectations of characters in a comedy who are going to negotiate what they do and then re assimilate into the social stream with renewal. That's not what's going to you're going to see in Macbeth, not that expectation. Same here on the larger scale of language, that that that claim that students can then make, which is to understand what expectation they carry the minute they pick up the English language, every one of us the same. We all pick up if we start fiction English, we pick up the expectation just because we're writing in English. It is born. It is part of the history. Languages have speaking of life, writing languages have a life too. And their life has this history to it. And the more you know about whatever language you're doing, the more you can play with that expectation that you too are picking up where the character is making a progressive change. I'll just say one thing and come back to this slide. It was very interesting when many of my students in the MFA classes, the graduate students, a lot of them were just starting to balk at that linear scale. Most of them felt that their characters instinctively were not coming from linear time. And then they were talking to me about how that worked for them in Chinese. How the temp, in other words temporality, temporality is a big thing in storytelling. In fact, if you get books on some of the top books by Silber and others on storytelling, one of the first things they say is if you're a writer of fiction, you're concerned with time. But what they don't normally say is it's going to be this. You're going to pick up this old instrument of linear time. They make time seem as though it has this single sort of belly to it. But in fact, temporality is really hugely different culturally. How we understand temporality is culturally specific. It comes historically from from religious, cultural, social, political changes. And it really matters that students are given everything they need in history to understand what choices they have and more over what play they have to recognize like the rest of us, none of us. If I had anyone born or not born speaking English, any of us picking up the English language has that about it. We are because anyone picking up fiction in English has this drilled as an inner rhythm from biblical history in in English. This is just a moment. I won't I deliberately made it so you can't read. This poem has 12,000. No, no, so 1200 lines, 1200 lines. So what's very interesting about many of you, do any of you know Christopher Smart? It's all about his cat and his cat Jeffrey. So he wrote 1200 lines about his cat Jeffrey. Beautiful poem. Even those of us who get PhDs in literature, I happened to because I was studying poetry. Most scholars don't read all 1200 lines because this is just the beginning. What's very interesting about this is, so this is like Fragment B2. There are four of them. I'm skipping ahead to Fragment B4 for a moment. Later on, this is what this goes to genre and expectation. This is what you normally see in the anthology. Some of you might recognize this for I will consider my cat Jeffrey, for he is the servant of the living God, duly and duly. But notice this. For first, he does, he, I like this, though. For first, he locks upon, no, sorry. He looks upon four paws to see if they are clean. For secondly, he kicks up behind to clear away there. That's great use. For thirdly, he works, he works it upon stretch with the four paws extended. For fourthly, he sharpens his paws by wood. For fifthly, he washes himself. OK, notice out of all of 1200 lines for English expectation, they put this in the anthology because it's sequenced, because it's linear, because we understand this instinctively. There's a story going on here and the rising X, even though it's a poem, that rising expectation is it goes all the way up for 10thly. He goes in and out of food for having considered God and himself and so forth for he is of the tribe of the tiger. So it's this out of 1200 lines. The expectation for readers to sell their anthologies is again this very linear sequential progression where Jeffrey is doing lowly things like kicking up the dust behind his ear and then he's in the tribe of the tiger. This is very much like Christian making it to his celestial kingdom. This is progressive. It's linear. It's a story within the poem and it's excerpted and it's edited and it's not what the poet wrote. But this is again expectations we could go into long dot commercial. What is it that English language readers tend to expect? This that has the same pyramid, although it's a poem. That that movement about I'll finish up here so we can if there any thoughts together. The this is about genre in particular and notice there are different ways that people taught when it first came into the language in practical usage of 1816. But notice the one thing I want you to see that I just took these randomly was that relationship to genus which is the stock and kin which is that there's a common descent. Of course it's a stretch to talk about genre having this gene. But I do think it's important for students to understand there is a historical family kinship that storytelling has based on its own ancestors of where it comes from. All the variations we can make together as writers we have we are armed to the hilt the more we study that lineage just as when we know our own family is better and our own friends better. We have more play students who are writing often I students writing in English who after they learn about this they actually choose after the course to go back and write in Chinese with all that much more in sort of power and excitement because now they're going back to what expectations do their genres come from. Where are those histories and what what are they given to play with as a contemporary writer. So one thing one other last thing here. Yeah let me go to yeah this this one just one last one last remark before the very end. As I was saying about so fiction comes fiction has this linear history to it. Poems do not. I don't have time to go into the poems and drama section about what their history comes from but it's much more circular and cyclical than the progressive element of fiction. T.S. Eliot we know has this very famous quotation what we call the beginning is often the end and to make an end is to make a beginning. The end is where we start from that that earlier poetic history again starts in English sort of old English and then in the Middle Ages that choral what we call a choral history the non individual one the community one has much more of a circle pattern to it in all kinds of sophisticated ways. What's interesting though about poems is they tend not to have an irrevocable linear transformation they tend to have more simultaneity in the history of the pattern what's really interesting is when I was teaching this in multilingual context and especially here in in the Hong Kong classes is that I just wanted to read you one or two of these from the classes which is to say that one writer said that when he came into he was so relieved learning this because he said theoretically I should use verb forms in my story simple past tense past tense mainly which can express a meaning in the past like my mother had met my father in Guangzhou however I feel once it was written in these tenses that's not my experience in it for how it feels to me it loses the intimacy of the temporality that I understand it's much too westernized it feels like a Hollywood director shooting a kung fu movie so you just that playfulness of understanding why his responses were not the resistance this is a difficult question it's almost like literary translation itself what do you do with writers who when they're writing in English and choosing to write in English understanding this history and then they're forced into sequential verb tenses in English to a large degree but experientially that's not that's not experiencing culturally and historically what they feel you can't write English that doesn't work so that editors think it's not been edited it's not that simple you just can't screw them up so much that right that editors start to think this just wasn't polished but you can begin to invent what it is you want to do with temporality understanding that as a multilingual writer your understanding of genre it's not an understanding of form it's not an understanding of the structure it's not an understanding of rules it's an understanding of history and the more that they understand that the more they just completely get excited about playing with something as that's going to like as concrete as what do I do with this verb tense how can I reinvent it so that on the one hand it doesn't sound too off the market needs to be edited but on the other hand captures something that this linear progression will never even attempt I'm always saying in the multilingual classes I teach at Hong Kong you there is such new writing coming out of here we eat so much ahead of the curve as you know I come from the U.S. almost exclusively monolingual there where writing is going to happen is exactly knowing our histories it's going to understand that genres I feel as I was given this like a little pet here I feel as I'm like stroking it here at the end genres like this little pet genres have histories they have lives they change their fluid they intersect this is just a glimpse to talk about how does poetry relate to fiction on the historical side it's not to make such a big line there's actually of course a lot of fluid just as there is in our own family history we're not made of compartmentalized pieces we're made of these spectrums but definitely when we're thinking about multi I think we can all feel so lucky here in Hong Kong that's how I feel to be here because we are seeing a kind of writing that has never been seen before I have so many publishers say when they see books coming out of Hong Kong that there's still somehow Western stories or they're like the Western like Kung Fu movies with the Western I are there somehow forced awarenesses are forced into this sort of trans history historical element of Western transformation but but we're not seeing but we're just now beginning to see those aren't the stories that are just brewing now we are seeing stories now that are unlike any others where no matter what the theme of the story is no matter what the subject we will begin to recognize this in a way that is completely different from what's coming out of North American and monolingual context so I'm really excited about what we're all seeing here and that you're joining with me I know you're all working in all kinds of writing out there history matters I think that's what on the reasons that we can say what can we do and create a rain to teach it if there's who knows what the answer to that is one thing we can do is go back to history that is one thing at the very least that makes a giant difference thanks very much thank you I don't it's up I'm open I'm anything you can ask me outside too if you're just thinking sure yeah oh yes yes of course the beauty of literature no matter for drama or fiction or poetry I think it's true understanding the the expectations what you mentioned yes the inclusive nature of genre yes we also can create dialogues with all those static yes descriptions of us and that as a creator as a writer yes creative writing no matter for life narratives or yes we try to have some conversations with the issues the values yes also the history embedded in the text so what do you think about this kind of theory and what's the relation between some theorists like the teams that are logistic to your current study about history genre and yeah that is yeah yeah it's a good question and back teams are interesting because of course he's become most famous for the dialogic and he doesn't really address poetry very much and he famously leaves it out I mean not exclude but almost almost exclusively I do think there's back he does really a critical theorist who's interested in how we how we analytically organize a text or it's almost out of back team we got a lot of movement toward reader response theory and structuralism and all those things I do think that what's a bit different here on the margin is on the one hand back team is looking as a critical eye on a text that's already made this work of history is looking at where texts are made as primary text as opposed to looking at them as secondary texts so his work is very beautiful I studied it I took exams on back team was so huge on that dialogic principle and so many different theories came out of it but mainly they do address the secondary work of criticism that we look at which is how it is how it is these voices right how the productive work of voices and the constructive voices and the construction of the reader that went into people like Yau and others who took up back teams work this is really historical work that's looking for those people who are not analyzing a text but for the ones who are making it so it's not that it's unrelated and in fact I brought back team into creative writing classes to Justin but this work is usually not brought into critical work because we're looking at why it is for instance if you have and this goes back to juggling in a little bit just in one sentence which is if you realize how hard it is to keep your audience it is so hard and creative writing to keep your audience it's hard to get them to turn one page it's hard to get them on a in a bookstore to like pick it off the shelf when they read the back and not put it down it is so difficult to get people to kind of turn a page this work historically looks at what kinds of expectations do people have where they like that Jeffrey poem they took that out because they knew if people read for first and for second they'll probably go for third this goes to what do we do as on the juggler on the street you could literally do seven balls you could do 11 clubs on the street people would pass you watch you for about to let me about 20 seconds at the most and walk right on by because you have not staged what your expectation is so this is really for writers more than for critics but a mix yet to help them understand how to build expectations and what their their language is a powerhouse of history what are what what is inside that language that they may not have known they're working with so definitely on the writer side of the world there yeah yeah yeah so do you mind giving us an example of like yeah yeah yeah so one of some of the writers I'm following like Koofe Coe who's on the publishing a memoir and he's working on a text where again on memoir which is more related to poetry in structure than fiction historically but he also was very much struggling with this question of temporality so he's talking about a snow globe that his father had given him when his father traveled to Chicago when he was little and his father then died and he was trying to write about his experience because he said when he was writing this this is in his memoir when he was trying to structure this memoir he was trying to organize this experience of the snow globe from as a child he realized when he was writing in English he kept going into past tense into when his father gave him the snow globe and the present tense of remembering that father when he was a child but he realized that his experience of the snow globe is not that at all that his cultural experience of the snow globe is when the father's not in the past giving it to him the father is continuously present to him and that he's continuously present in the moment of the snow globe and so the act when he put it into English in the past tense was actually falsifying the memoir that he was trying to deliver because it was creating a nostalgia that he felt was very western and that elegiac quality of looking back when he was a child to the moment when his father gave him the snow globe but actually he felt it's not at all like that for him then he was trying to teach me which I can't replicate about all the levels of that continuous presence then he was relating it to Hong Kong cinema saying where you see people on multiple floors where they're not connected by a linear staircase but they're taking place in the same time frames and so he is now restructuring that memoir to get rid of that elegiac western element but to retain an element of his father's death the element of memory but memory not on a linear or progressive time frame but on a simultaneous so he is we have worked a lot on how to work those verb tenses how to organize not just so the sentence isn't a different verb that's not it we know that writing is just like all our other sessions today writing is thinking writing is perceiving just changing verb tenses the minute he can get that we see something we never saw coming out of English language before and I asked him why did he want to write in English rather than Chinese for instance where it's he may be I'm now this is specious not true he said maybe a bit easier to do it in Chinese because it's in some way which I would not know fully it has and he was saying actually he emotionally thinks in English but that the design of the grammar in English that is so linear on verb tense does not suit this element where it's not an elegiac part of memory I think the moment we start to look at memoir as non-elegiac here because of Hong Kong craft we will change how we see everything just everything because it's that big it's looking at what cause elegi is giant in English language history it is just permeates the memoir to this day there's a beautiful memoir by Megan O'Rourke about her mother dying I loved it about about those kind of the long period of her mother's death but it is infused with this it is all about firstly and secondly and how her mother died incrementally and the elegiacast and it's magnificent but I showed it to Kufi and she said that's not what it feels like that is not it at all it's like the TS Eliot poem in Prufrock that is not it at all we are going to see not a change of language like that cause we're all using English we're going to see if we're lucky through all of this that we do new experiences we have never read in English before and that's what's so amazing that's why the lecturers never want to go home because they go back to America and everyone speaks English and they're back on the fry-tag diagram so to speak and it doesn't have all these intersecting historical planes they're just so beautiful so yeah I think we're going to see like a new wave of writings coming out and it will not necessarily be thematic on Hong Kong I don't mean it in that way at all we are going to see storytelling through a lens we have never seen before yeah anything else before it is truly dinner time and you're looking hungry you can talk outside thank you so much thank you very much


Hello Welcome to my patreon page Thank you for stopping by I'd like to take a moment if I may and tell you a little bit about Why I decided to open a patreon page. I have been Uploading YouTube videos for several years now And I'm starting to grow my audience a little bit at a time I open the patreon page to not only help me But help you guys too if at all possible I'm going to be offering some rewards if you become one of my patrons and Every month there'll be different rewards. I will be doing different tiers I will be adding more tears on later as we go down the line. I'm just starting out so I'm new to the patreon and With your help I'd like to I'd like to get started and maybe start out as As a team as a team you become my patron and You become my team member and I become your team like look down through the through the tiers and You will find different Rewards that you will qualify for if you decide to support me and my channel I am Shaebear 1000 and I enjoy Making videos. I enjoy creating The content that I do and with your guys's help I can create more and more enjoyable videos So again, I would like to thank you for stopping by. Thank you for your contribution And I hope life treats you well I'm Shaebear 1000 Thanks for stopping by once again


I picked the Goosebumps series because essentially I could borrow it from my nephews and they themselves, both their 10 and 13, say that the Goosebumps series is what got them interested in reading real books. I myself write fantasy fiction and vampire fiction so R.L. Stein appealed to me immediately. This book, this book in the Goosebumps series is called The Barking Ghost and is one of those that was explicitly banned in Florida for satanic symbolism, possession and descriptions of dogs as menacing and attacking. I looked for the satanic symbolism in hopes of reading you some. I'm not that up on my satanic symbolism so it may have passed me by. I cannot say whether there is any or not but there's definitely bad dogs in here and my response to that is so what? I'm gonna read you a little sort of synopsis out of the reader's digest version and there is also possession. They're possessed bad dogs which I might try in my next novel because it seems to work here. For the zillionth time that night I threw the covers off my legs and bolted up from the bed. I definitely heard something that time and it wasn't the wind either. I'm always hearing things but no matter what I hear mom says it's just the wind Cooper, just the wind. But the wind doesn't sound like heavy footsteps crunching through the leaves and that's what I heard this time definitely. I stood next to my bedroom window then I leaned over and peered out. It sure was spooky out there. I squinted to see better in the dark. Don't lean over too far. I thought don't let whoever or whatever is out there see you. My eyes searched the backyard. I lifted my head and spotted them. A few feet away huge black gnarly arms reaching out toward the window ready to grab me. No. It was only the branches of the old oak tree. Well give me a break. I said it was dark. My eyes swept over the yard again. The sound there it was. I ducked. My legs trembled as I crouched beneath the window. I broke out into a cold sweat. Crunch. Crunch. Even louder than before. I swallowed hard took another peek. Something moved in the shadows under the oak tree. I held my breath. Crunch. Crunch. A gust of wind blew the tree branches furiously. The frightening sounds grew louder closer to the house. As I peered out two eyes suddenly flashed in the dark. My throat went dry. I couldn't cry out the eyes flashed again. They were even closer to the house this time right outside my window staring at me toward me. The creature's dark shape began to take form. It was a bunny rabbit. I let out a long sigh. The first night in my new house I was already shaking in terror. And then the plot thickens. When Cooper actually gets up the courage to go outside and look for these frightening noises. He watched the spot. I watched the spooky shadows moving along my walls and ceilings and listening to the frightening noises of my new house. Noises I would have to hear for the rest of my life. The pipes rattling the dog's barking. Wait a minute. Dogs? I set up. We don't have a dog. And there isn't another house around here for miles. But I definitely heard a barking dog. I listened closely. The dog barked again. Then started to howl. I sighed and pulled off the covers again. Started to climb out of the bed. Then it hit me. Mickey.  He was an excellent dog barker. He practiced all the time. Smiling. I settled back in my pillow. I wouldn't get up. I wouldn't go to the window. He wasn't going to get me this time. No way. I lay there listening to Mickey make a fool of himself howling barking like a big old dog.  Then suddenly I sat up again. Whoa, I heard two dogs howling. Even Mickey couldn't pull that off. The howling turned to piercing cries so close right under my window. As I said, I made it through a whole day without being scared. But boy, was I making up for it tonight. For the zillionth and third time I slowly crept to the window. I could hear them clearly. Two dogs wailing and howling. For the zillionth and third time I gazed out the window. But for the first time I couldn't believe what I saw. And ultimately Cooper survives the howling dogs with the help of an intrepid young woman who's very smart. And there is possession. And I think the two of them end up not being eaten by the dogs, but turning into squirrels. Thank you.


Sign up today and become a part of this educational community of traders. Just visit the front page of TFNN.com The following is a presentation of TFNN Trade what you see With Larry Pezzavento All now toll-free at 1-877-927-6648 Or internationally at<PHONE_NUMBER> Now Larry Pezzavento Okay, looking good Billy Ray feeling good Lewis welcome to the show TFNN From the offices of 100 South Broad Street Duke and Duke folks There is trouble in River City if you remember the movie when they were in the Loat where all the lawyers were together and they were talking about things about how honest they had to be and they slipped a $50 bills into Dimecroy's pocket to you know get him to You know be a crook. Anyway, what happened was We have a small situation like that right now folks. I think they're trying to hide from us I posted a chart up here of the NASDAQ folks over the last week or so Okay, now you think that's important. You can see here. We have lower tops and markets breaking But even more important, I want to show you the next chart. I'm probably a hundred percent wrong on this I'm usually 80% wrong. This might even be might even take my record away, but here's the NASDAQ You'll see here. We made a high of the 382 from December of 2021 Okay, that was two and a half years ago. We've made it take it's taken Six months to make a 382 each race and look how the market's rolling over to the downside That this is this is extremely bearish in my opinion I'll go I'm going to take it one step farther because you know, I'm a I'm a short-term trader I like to look at places that look where you can get in without You know breaking a leg or something like that But if you take a look now, this is what it's done over the past nine trading seven trading days Let me get it up here So you can take a look at I'm just giving you my trainer thought and if you disagree with me I would love for you to call in and you know, tell me why I'm wrong and maybe I am maybe I'm not But anyway, you can see here. What's happening over just the last few days Okay, now with the with the markets rallying really strongly today on good data, whatever it was I don't know what it was. I'm just going to bring this up here This is just the last two days of the NASDAQ and I'm going to get it up here And I always talk about that little magical number back there. Yes, Johnny. I see your plaque is up there He's waving the 382 plaque. I've got it around here somewhere. Anyway, there's what it's in your yesterday's right there There was your high. Okay from the high we made two days ago today's high was an exact 382 Okay, it was also 382 of the previous day. So sometimes not right I don't know what it is, but maybe this will all turn around today and everything will be good But that's not what I'm seeing right now. I hope that helps you a little bit But that's my opinion of what we're looking at and of course I happen to be On the short side of this so we'll find out whether it's going to do anything or not But you know these other markets are acting really good. Look at look at here is the e-mini S&P There's nothing wrong with this chart and of course remember the Nasdaq is not that big of a deal for the stock market That's only a well 100 stocks, but it's still, you know 20% of those is covered by 10 stocks. So you can see here we had that 78% retracement up here in the S&P But remember when this is doing this we got the Nasdaq way down here that that's very unusual folks And the Nasdaq was the leader of this thing, you know all the way down and I'm thinking well Maybe if this thing lightens up here, maybe that's what's going to cause the market to break I don't know I'd appreciate any call a phone calls to tell me whether I'm right or wrong And we won't know that for quite a while. Also, we were kind enough to get a really neat-looking chart here from the This is from the Fed. I wanted to get this up here to show you what they're looking for because we've got a big GDP number coming in tomorrow and What that this is the Atlanta Fed and they're usually pretty good with those statistics, but they're expecting This is the estimated guess of what it is and this is what the other people are looking for So one of these one of the public is either wrong and the Fed is right so the Fed is saying things are okay, it looks like it's going up and People that are watching it saying not so sure not so sure But look at that look at that divergence there folks I mean that that in that in itself would scare the bejeebies out of me That means something big is out there by the way I don't you talk about you know names that mean things you know how they have a covey a quail and a herd of cattle and What's your flock of sheep? Okay, do you know what is when you get what they call a group of swans black swans that come together what it's called It's called a bank You can't make it up Anyway, I don't know what that means anything and since we're talking about banks Let's just take a look to see how our regional banks are doing on the Nasdaq and course we'll get this up here to show you here and You'll see here that the regional banks have shown no sign Any type of a rally we had a little bit of a rally today, but whether it does anything from that level or not You know, I'm not really sure So let's keep you let's keep a keep a keep a close eye on that one Now I want to give you something from a technical mental part of this game As you know, we went long soybeans the other day at a very nice price I want to get these up here on the bottom here and hold on second and let me get it up here So everybody can see it everybody mostly knows we've been bullish this and we got up here today This is a very nice We're in the third fourth day of the rally and it's setting right at a three eight two to sixty one percent retracement And so I told the folks I said, you know, this is a heck of a run It's just in the beginning of the season This is not a you know weather market yet or anything like that and maybe it goes straight up I said but you know when you buy way down here at 392 and you're setting up there at 440 in three days I said those things don't come along very often and the fact that we're setting right at those numbers I decided that you have your choice either put your stop just like a five cent trailing stop or just get out of dodge and Take your profits. Well, it went higher. We were looking at 37 437 in the july and we've been up to 444 And I have Pleaf in and on folks I had several people asking me, you know, aren't you upset that you missed this last seven cents? Folks if you start thinking that way go over to McDonald's and get a job flipping burgers because this is You got to take some profit somewhere. Hey, listen, you know, I do a two o'clock show For a tf&n from the place of someone who has passed away david white and he's just saying I love this thing Sell when you want to Not when you have to and that's what I'm doing, you know, you're big. Hey, look, there's always going to be another Train coming through there's no question about it, you know So I just do one thing at a time and I'm not going to get the highs I'm not going to get the lows all I want is a little piece in the middle And that's really what you want to be watching. So those are the things that Oh, I think I'm hearing a ding here. We've got larry from wyoming on the line larry. How are you doing? I'm okay. How you doing larry still living the dream baby on the green side of the grass What can I do for you my friend? Yeah, I just saw the movie the family with robert denaro I just was cracking up over that film you got to see it We got to pay a few bills here and we come back we'll talk about natural gas, okay Okay, all right. We back folks eight seven seven nine two seven six six four eight So Currencies commodities and bond markets are as important as ever right now with how they're driving the volatility in equity markets across the globe Which is why it's a great time to try out teddy keg stats tiger forex report Teddy keg stat breaks down the forex markets every monday using his 30 plus years of experience as a trading veteran of futures Forex stocks and options Teddy releases his weekly tiger forex report every monday morning with coverage of all the major currency pairs Including the dollar index the euro dollar pound dollar Dollar swiss dollar yen as well as many more and he also has weekly coverage of the crude oil market and the 30 year t bonds As they both influence forex markets tremendously when you sign up for the tiger forex report You also gain instant access to teddy's 60 minute webinar archive He just hosted forex strategies and fundamentals What is behind the tiger forex report for all the details and to start your 30 day tiger forex report subscription today Visit the front page of tfnn.com tfnn educating investors Steve rhodes started his trading career as a student almost 20 years ago And the student has now become the master steve won the prestigious timer of the year award in 2018 And barely missed that mark again in 2019 finishing at number two for the year an amazing accomplishment Steve rhodes is committed to sharing his techniques and knowledge with anyone who wants to learn And he shares his vast amount of trading knowledge every day in his mastering probability newsletter steve's award-winning newsletter Mastering probability is delivered every trading day with updates throughout the afternoon sign up for steve's market newsletter Mastering probability and you'll receive access to seven of steve's educational webinars Absolutely free at tfnn all our newsletters come with a 30 day money back guarantee So you have absolutely nothing to worry about visit tfnn.com and try mastering probability 30 days risk-free today tfnn educating investors Are you looking for a way to consistently add winning trades to your portfolio? Tom O'Brien is here to help Tom O'Brien has been successfully trading markets for over 30 years A frequent contributor to TD Ameritrade Network and CNBC Tom O'Brien founded tfnn over 20 years ago to help educate investors just like you Tom's daily market newsletter market insights is published every morning when the market's open to give you the competitive informational edge you need to succeed These newsletters are packed full of tom's advanced technical analysis and are geared to deliver comprehensive strategies for a successful portfolio Get Tom O'Brien's newsletter market insights today and try all of our products and newsletters 30 days risk-free With our money back guarantee at tfnn.com tfnn educating investors free at 1-877-927-6648 internationally at<PHONE_NUMBER> Back folks we're talking with larry up in Wyoming larry. What are you saying my friend? What do you like today? Well, I um, I don't know if it's good news natural gas if you want to go long natural gas increased Open interest futures by 7300 and it's going down That means there's more sellers And the market is still bearish, okay Because if you're right that means that the shorts are in control But why posted a chart? Because I think we're this goes it's a 4r chart that goes back quite a ways About six weeks, but we've got a beautiful Three drive to a bottom pattern coming in about 10 or 15 Uh 10 to 15 points lower right around the 206 level I think we're trading at 207 right now but 206 Is the triple numbers coming together there one from a long term weekly And remember the all-time low is like 195 and the secondary low is like 203 So at 206, you know, you put your stop under, you know, 190 and you're only risking, you know 15 points and if that thing's right Just a 382 retracement would be like seven handles on your money. So that's what I'm looking at In the natural gas so wait for 206 my friend from your experience at the end of a move Do these uh futures traders pull will they pull off will you see a spike in Negative will they reverse quickly at low levels like this rapidly? No, it depends, you know Because you know if you're in control, you know, look at the to give me an example You can see that big chart on the way down I mean open interest was increasing all the way So the shorts were just you know given everything that the bulls wanted and they took it and it down it went And then as they start to sell out that pushes the price is lower So when you're watching the open interest, which is a good thing when you're there You want see open interest increasing because the the bearish people are getting more bearish Okay, that would be the opposite if you turn it upside down And that's how we usually understand it if people are really bullish and everybody's in there The market's not going to turn. Well, it's just the opposite When you're doing it's just the opposite, you know, you got to think it's like oh everybody's really bearish Hmm maybe I can remember back in I think that makes sense. That makes sense I can remember in 2007. Okay. I was helping a hedge fund get started And they they were interested and they had like 20 million dollars And I told them to put five percent of it into McDonald's. It was trading for 11 And I said put a stop at nine and a half And that was you know about 12 percent. So I said you're gonna lose 12 percent if you're wrong on this I said but if you're right, I said you're gonna hit a big home run and they bought it It never went more than a half a dollar lower and you know McDonald went into the hundreds over the next, you know 15 years So I I'm not saying this is the kind of trade, but you know, it's when everybody's bearish is when you got into it You know what I mean Yeah, that's interesting. Okay. So the shorts might be showing because I looked a few days ago and it was The open interest was down one thousand. So I said, oh Open interest is contracting in a down market. That's bullish. Yes, it is But today it was up seven thousand and it's going down. So they might be getting overly confident Yeah, that's right. You see you this you got a number of seven versus a number of one You can see there are a lot more sellers coming in and that's why the prices are dropping But you know the good part about larry if you're looking at this, they're not cascading down They're going down very slowly. Yes, you know, I watch it every I'm watching it too much. Yeah, I see that So you're saying so what that tells you is for every drop there's a buyer. There's buyers everywhere That's correct. Absolutely.  If you ever watch the movie or watch the series What was I think dog dog on a call? When I started thinking of him, he's sitting right here in front of me. Anyway, I was uh, tag Andrews of You know the what was I don't I can't remember the series will come to me And but tag was in my office every day before he went on location and stuff and we became very close friends and he Anyway, the story was I was talking to a guy on the phone just like I am to you And I had a position on in gold or something and it was going down and and I told him just like I'm telling you I said, yeah, but it's not going down very much I said, you know, we gotta stay in here because it could turn at any time and and tag took a piece of paper off my desk And he wrote s Lbs and he turned it around upside down so that I could read it and I said, what the hell is slbs And I said just a minute just a minute larry and I learned what do you tag? What do you mean? He said tell him He's still losing, but slowly I wish I'd have kept that piece of paper over the years But I'm waiting for I'm waiting for 206 in this my friend. So if he gets there, you'd be sure to call in I will I appreciate you. Thank you larry. You bet larry. Thank you very much I'll come up there and help you do some rodeo stuff. You you knew I was a champion rodeo rodeo writer, right? You know, I'll I'll try to put on some leg braces and do it with you Just like I'm a professional golfer. Okay. Thanks for joining us pal. I really appreciate it. Okay, let's move on To the next one here that I wanted to cover. We've got a bunch of stuff I'll put that now. I'll put the the long-term chart up here for the For the natural gas here because we are getting really close But like larry said with open interest increasing prices going down. That's a bearish phenomenon So if we look at this now on the long-term picture, there's you know, we can bought it that 1.618 at 287 We were out at 276 and now what we're looking for I'll get that other pattern up because this is one That's really focused on I did a complete video on this to You know to tell the folks you get ready because it's going to be any day now And if we get this up again We'll walk through it and then when we come if you have any questions, of course, you know Call me back and they're calling to the show and I'll try to answer them But as you can see here, we are setting right there. We need to go right there Now that's not a lot because you're you're only talking if about oh 15 1600 dollars if you get down to this level Okay, you've got a really good place to watch it if we get a really good Decrease an open interest down in here as they start to come down That means the shorts are lightening up and that's when the market will have its big turn. We saw this in bonds We've seen it in gold. We've seen it in crude oil You know, all I do is when we're getting ready to hit a major point I start watching the open interest just like Larry was doing one day It's a thousand next day at 7000 and maybe it'll be 22,000 someday because that means a huge player came in To make a bet or what we call an intelligent risk speculation Then that's pretty much, uh, you know what we're looking at By the way, on the gambling note remember Shane's million really liked the, uh Miami hurricanes to win the nc double a Okay, and because of an astrological alignment for the University of Miami So if you want to put five dollars You can get back. Are you ready for this 25 dollars a five to one payoff So that's a heck of a payoff. So for five bucks, you get back 25 this old cowboys putting 10 in I really like this one I I think I like the way these these all these kids play. They're so exciting to watch and all the games will be good So my 10 bucks is going on the Miami hurricanes and believe me folks the last time I want to bet on sports was, uh Who did I bet on it was a 1953 world series? And I remember I lost it must have been the Yankees Actually, it was a Cleveland Indians. I think no 54 was a Cleveland Indians. We're going to take a break here boys and girls We'll be right back If you want to take advantage of this sector now is the time to subscribe to my gold report The gold report is a comprehensive look at the metal sector as well as the markets that move gold Which is the currency and bond markets new subscribers get a 30 day money back guarantee So you have nothing to lose every Monday morning I published the gold report with coverage of gold silver bonds the xiu Gdx as well as more than 30 different mining equities To seep yourself the types of profitable trades that are recommended within the gold report sign up now by visiting tfnn.com Don't miss out on the next great gold trade. Sign up today Everything in the universe is governed by the Fibonacci sequence This mathematical principle is responsible for everything from the most aesthetically pleasing artwork to patterns in the stock market To stay on top of stock patterns You can take advantage of sign up for the Fibonacci 24 7 newsletter at tfnn.com When you subscribe you'll get a weekly report from veteran day trader Larry pesavento on stocks you need to pay attention to and you can trust Larry's analysis After all he's got 45 years experience as a day trader Larry will also provide daily charts videos and data on the key markets that he's tracking Expect notifications from Larry on market movement You need to act on at any time First time subscribers also get a 30 day money back guarantee If you're not satisfied let us know and you'll get a full refund within 30 days of signing up Subscribe to the Fibonacci 24 7 newsletter today tfnn.com educating investors Sharpening your skills as an investor is like getting better at playing a musical instrument You have to practice sure, but you also need excellent instruction from experts at tfnn You'll get advice and guidance from the authority in technical market analysis And it's not just dry tedious text either tfnn airs live financial content streamed live on tfnn.com and tfnn's youtube channel with tiger tv Live every market day from 8 30 a.m. To 4 p.m. Eastern for free Each host is an experienced trader and gives their take on the market while taking calls and questions live from around the world From the moment the market opens until the closing bell sounds tiger tv has eight different shows with expert hosts to help you Make the right moves with your money Watch online at tfnn.com or on tfnn's youtube channel and become the investor you were born to be tfnn educating investors This segment is brought to you by think or swim for more information Just click the think or swim banner on the front page of tfnn.com Okay, folks more emotional pain. I'm joking about that But you know when I mentioned about taking profits and uh soybean they are now 10 cents higher That would have been another 500 but my assumption was That we've had one heck of a move over four days. We're right near the 61 percent retracement. We're now above it by about four cents and All I'm saying is that you got to be really careful here And so I am just going to be a little more careful Now if you remember just the other day I posted this chart here last thursday. This is the one on the Hog market doing the same thing. This is the same kind of pattern that we're looking at for the nasdaq Excuse me for the natural gas This one was absolutely perfect because you can see here. You have a beautiful abcd pattern here And perfect down here people ask me the question. Why aren't all of them perfect? Well, I don't know the answer to that But uh, I've thought about that a lot. All I knew is I know it's pretty good Now when you're looking at this this one happens to be perfect because from your High to your low Was the same number of days as your high to the low? That's a very strong indication. Yep That's probably it and the price come together at the same time right here So that's ab equals cd and price and time I mean, I don't see the boys with the le wave ever talking about something like that But that's the harmonic that's actually there. It's the abcd. You don't have to worry about whether it's a 123 at four five six seven eight nine. Just look at the abcd This is what mandelbrot said And that was you know, everything is related to these fractals and he was a father of fractals So let's make sure we take a look at that. All right now We've had a pretty good rallying it but the problem is now We've got a we've got a crop report coming in hogs. I believe on friday See the thursday or friday and there's going to be a report coming out I'm going to tell you a story that I think you'll like byron tucker when I first met him in january of 1982 And he's been my very best friend ever since he was there Running the office for goldman sacks and also delcher they worked together and uh Delcher was a big supporter of del uh goldman sacks and vice versa And uh delcher of course was leo malamud who was the president of the exchange And he he held all the marbles. Let's put it that way. Anyway, he had a He wanted he gave byron an order to buy 50 t bills And so byron said, yeah, but we've got a report coming out in about 15 minutes He says it doesn't make any difference the market's going up. He says, how do you know that? He says it's bullish He said, okay, so he went in the short after report was very very bad The t bills opened slightly lower and just went crazy to the upside And so byron started to ask, you know, I happened to be there in that part of this conversation And he said how and the heck did you know? He said All I know is when I looked at it that looked like it was going up And I was hoping it might be very sure I could buy it cheaper And he said really there's no mystery to it other than that He said I haven't been seeing these things for such a long time that that's that's all I That's all I do and so anyway, those are some of the things that happens I wanted to bring another one up that we've been watching for quite some time And it's actually beginning to look like it's getting ready to turn And I'm not so sure we had a nice big profit in this at one time Ended up being out with a very slow profit, but you can see here We well, we had this we were so selling it up here at this level And of course we covered it when we got down to the 382 And then it went sideways, but it couldn't go down very much And gold is actually backed backed up above the 970 level too So that's another one that we want to really keep a close eye on because if this thing can't get any lower Then what we've just done in the goal, but you got the stocks are just not they're acting very poorly folks This nasdaq. I mean I I just don't know why why people don't talk about this This is this was the the one that ran the whole gamilla And and we are we're look at this. This is incredibly weak You're talking about the the big daddy rabbits, you know the google The which is the amazon all those stocks meta meta forester facebook whatever it was All that stuff is it in that nasdaq 100 and boy, that's a really negative chart Well, you know, you might might say well, this is making just a nice abcd down here that could turn the market And that's absolutely correct Because if this is a fact abcd and we get down here just a little let's do this together This might be interesting just to do together. Let's do that folks since no one's asking any questions I can get some work done on time and I'll get up here to take a quick look at it And uh, okay, let's get to the old nq which is right there Let's do a uh one hour and 20 minutes. Let's do a four hour chart on this And see where the pedal meets the metal and oh my goodness It's coming true. We're going to be taking a look at it right here All right. Just give me one second here to do the work. Well, you can see what I'm watching at Let's do it. Let's do it together. You know what the heck People never asked me anything here. So I'm just going to do it the way I want to do it. How's that? Worst they can do is fire me and they're not going to do that because I love them as much as they love me Okay, here's the nasdaq. You can see the nice little double bottom here abcd take out the bottom by a little bit then it ratchets up There's a 382 382 goes up here. Now look here. You see how we're making three lower highs. That's a 135 pattern Okay, now this is when the s and p got up to a 40 60 level now look at that See where the abc is going to come down in here somewhere. You see where that little dot red dot is right here Bubba, you see that red dot there's where the game is going to be played today right there. So let's do this together and hold on And see if I can do it without any trouble at all what I'm going to do is I'm going to blow it up So we all can see it real nice and clear That's down. Oh boy, this is going to be interesting. I'm going to type this in because I should be if I weren't doing a show I'd be sending this thing out Right now. So we're going to put it in at one two six.  Hold on a second get this ready here God, can you believe this folks? I've been doing this for 62 years And I love it the same as I did The first day I ever did it and by golly I'll tell you I have been very very lucky now. All I got to do is find that chart that I just made Operator operator Please be fair I see there's something in the air. Oh, no, no, no It didn't come through Oh shucks. Hold on. I'm going to do it again. It'll be here waiting for me. So Oh, I'm going to do it this way. Okay. Here we go Alrighty Oh, that's not going to work. That's not going to work just a minute here Gotta do it the other way. This is really important boys and girls I mean really super important Ah, here it is. Okay now what I've done now get this up here so you boys and girls can see it Hold on There we go Okay. All right This could be the thing that makes the market go up You got an a b cd Coming in right here at 12,600. We're 12,600 And six 12,600 so 600 more points Right here Is where you want to be watching because if this fails The old proverbial pudding will hit the fan But that's an a bcd and a 3a2 and we got to be ready So I'm going to be putting some limit-minders in Live every day in an attitude of gratitude and may god bless You might think that if you want to be successful at trading in the stock market You're going to need a crystal ball. After all it's impossible to predict the future, right? Like any endeavor in life before you decide it's impossible get some advice from the experts You might find that it's not so impossible after all for daily market Overviews that give you direction on the key indices selective stocks and commodities Subscribe to the opening call newsletter at tfnn.com The opening call newsletter is written by basil Chapman creator of the trading methodology known as the Chapman wave The Chapman wave up-down sequence gives you an edge in identifying price turns Finding the peaks and valleys and stock prices get the opening call newsletter by basil Chapman and your inbox every day First-time subscribers also get a 30-day money back guarantee if you're not satisfied Let us know and you'll get a full refund within 30 days of signing up tfnn.com educating investors Are you looking for a way to consistently add winning trades to your portfolio? Tom O'Brien is here to help Tom O'Brien has been successfully trading markets for over 30 years A frequent contributor to TD Ameritrade Network and CNBC Tom O'Brien founded tfnn over 20 years ago to help educate investors just like you Tom's daily market newsletter market insights is published every morning when the market's open to give you the competitive informational edge you need to succeed These newsletters are packed full of tom's advanced technical analysis and are geared to deliver comprehensive strategies for a successful portfolio Get Tom O'Brien's newsletter market insights today and try all of our products and newsletters 30 days risk-free With our money back guarantee at tfnn.com tfnn educating investors Biotech is booming But for how long whether you think the biotech bull has room to run or has run its course trade labu or labd Directions daily s and p biotech three times bull and bear ETFs Visit direction investments.com slash biotech today An investor should consider the investment objectives risks charges and expenses of the direction shares carefully before investing The prospectus and summary prospectus contain this and other information about direction shares to obtain a prospectus or summary prospectus Please contact direction shares at<PHONE_NUMBER> The prospectus or summary prospectus should be read carefully before investing an investment in the funds is subject to risk Including the possible loss of principal the funds are designed to be utilized only by sophisticated investors such as traders and active investors distributor four-side fund services llc This program is brought to you by vista gold traded on the nysc american and tsx under the symbol vgz Bear with me here for one second and as soon as I find this puppy. There it is. Okay. I want you to follow my trade of thought now folks We're gonna i'm gonna relate to what's happening with the nasdaq At 12,000 even it's trading at 12,006 fives even right now 500 points away And what we're gonna do now is we're going to take a look at guess what we're gonna look At the same pattern that we're seeing and we're gonna find out Where the game is going to be played today. So there's where we are right now. There's where the 786 was That's where we shorted it up there at that 40 30 level when we got up here now. We're down here To this level right here. You see we're at the 50 now. There's 618. There's 786 Well, when we get to that number in the nasdaq, which has been leading the parade if it does get there to I don't think it'll get there today because that's another 500 points So we might even get a bounce in here somewhere But you can see the difference is what i'm trying to Trying to talk about is fact that the nasdaq is the leader on the way up He was a leader on the way down and it's just made a 382 retracement of the move from the high of december Of 19 of 2021 Two years ago. It's only made it to the 382 retracement. Nobody's talking about that Other than me and one other person and can't trust him at all. He lives over in the uk Anyway, well almost uk. Anyway, that's that's what i'm seeing here. That's the possibility that we could be looking at So anytime anything could come up if fed could come in and turn the market just like a whiz whatever That i don't know but right now it's acting relatively uh poorly, you know, we're uh We're going to see, you know, what happens to it, but it's certainly, you know, not doing too good right now. I just See the low from just a couple days ago Now we've already taken that out. So we're going to see how this thing moves Okay, let's move on here to the treasury bonds Because you know, they're a big tip off to what's going on in the market sometimes So we're going to get that on the hourly four-hour chart just to see where you are I've got to take some of these out of here. I've got a lot of lines in here because I leave my interday lines on because they uh, they line up pretty good, but uh Here is the treasury bond and I hope this will come out really good And it will Okay, now folks, we bought at that 382 right down here. Remember we had this big three drive This is where the market made the bottom right here. We came down stopped here We bought here We took the position off right here because we were trying to Make a lot. We ended up making a point, but we left two points on the table Now here's the possibility that we could be looking at This could be a very large a b c d of there's Time out somebody's somebody's at the door. That's my alert mind are going off. So That means something moved dramatically and it's probably more soybeans I actually know it's dow Jones giving up a little bit of money here But that's uh, well, I don't want to see the dow the dow is really tough because you're only looking at a few stocks So I don't I don't worry too much about that one Let me turn it off here, but I got to find out what that number is Sorry folks Let me do this We're going to do this together because I need to do it or might as well do it now to see where we are here In the dow Jones because the dow is you know still way up in the stratosphere From where we were but if you look at it now From the high we made yesterday. Oopsie daisy. It's not too good. Let's just draw it up here We're probably not even at the 382 are we know the 382 on the dow is down another Uh 80 points. So I'll put this up here so you can see we start breaking there because the dow It's been the one that's been going up and unfortunately that's only 30 stocks and of that 30 10 of them run the whole thing So let's move over here And take a look at this one I hope this is not confusing for everybody, but I don't hear anything from everybody. There's probably nobody listening So that's not a problem. Anyway, there's there's the 382. You see the we got the s and p is Already below the 50 percent The nasdaq is making lower is below here So there's something wrong So whether the this is fooling everybody, I don't know But we can do it when you can do it with sick with about 15 stocks Good luck. You know, I'm just saying that's what we're watching here. So I hope that Makes a little sense. Let me get down here to see what's going on here And dial vertical. Okay got everything hooked up together All right now one other question that someone asked me about was a stock of bank of america Firmly owned by a p ginati. He was the man who started it in 1906 in san francisco And my grandfather moved here at night great grandfather great grandfather moved here in great grandfather moved here in 19 26 and he bought some stock in that unfortunately he held it all the way through the Uh, the crash he didn't have much stock. He had like 50 shares but it stated like very very low price for a long time and then he finally got his money back but He his main thing was making salami cheese And whiskey and or grappa, which is italian corn whiskey and that's how he that's how he kept the Family going for all those years and as you can see here at bank of america we had a big blow here yesterday and This is another one. I mean, how can anybody be bullish? On this stock. I mean, well, you're you this would be the time to buy it because you're at some major expansion so This is if the market turns and it certainly can And you can see that by watching the nasdaq and the others if the market turns there These are the laggards. Okay the banking index and the tech index are the laggards If that turns you can imagine what's going to happen to the market You know, you hope you understand what I'm looking at because I'm bearish You know and that's it in the book of Roy Longstreet the viewpoints of a commodity trader He's got a he's got a saying in there that it's really true for all traders I'm running scared and loving it and you know who took that those boys that did get smart don not Don Adams and uh, oh, what's that guy's name? That was the brains behind the whole outfit. I'll think of it just a second But I played poker with don Adams. Oh god So many times we had a regular game the third thursday of every month and nobody ever missed it, but He was the one that uh that said that I don't know But the saying is no matter what you're in you you like your position But you're running scared and that's what you want to be doing because if you're running too confident Uh-oh, uh-oh That's when the pedal meets the metal and you run into a whole lot of problems So, uh, just keep that in mind as you're looking at some of these things today because uh, it's quite Quite interesting. Anyway Okay, someone asked a question about the natural gas. It's not ready yet folks Uh, we're let's bring it up to daily here and we'll take a quick look at it And uh, I'll be doing another show today Boy, does this time go fine? You know if you guys would call in it would make my job a whole lot easier You know what I mean? It really would and uh, I'll do it as long as you guys start calling in if you stop calling in You can say goodbye because I Like to have people asking me questions and that's what I like to see So here's what we are looking at If they said you see it's we're making new lows almost as we speak i'll blow it up Because we can see it a little bit better here And all I got to do now is to put it into the file And move it over here And then I just got to find it. We're going to talk about the natural gas When we get back If you're looking for potential trading setups in the stock market then rocket equities and options report is a newsletter You should try tom. Yo brian delivers options and equity trades when the markets present them using a combination of fundamentals and Technicles sign up for rocket equities and options report today with a 30-day money back guarantee So you have nothing to risk for all the details and to start your subscription today visit the front page of tfnn.com tfnn educating investors You might think that if you want to be successful at trading in the stock market You're going to need a crystal ball after all it's impossible to predict the future, right? Like any endeavor in life before you decide it's impossible get some advice from the experts You might find that it's not so impossible after all for daily market overviews that give you direction on the key indices Selective stocks and commodities Subscribe to the opening call newsletter at tfnn.com The opening call newsletter is written by basal chapman creator of the trading methodology known as the chapman wave The chapman wave up down sequence gives you an edge in identifying price turns finding the peaks and valleys and stock prices Get the opening call newsletter by basal chapman and your inbox every day First time subscribers also get a 30-day money back guarantee If you're not satisfied, let us know and you'll get a full refund within 30 days of signing up tfnn.com educating investors Everything in the universe is governed by the fibonacci sequence This mathematical principle is responsible for everything from the most aesthetically pleasing artwork to patterns in the stock market To stay on top of stock patterns you can take advantage of sign up for the fibonacci 24 7 newsletter at tfnn.com When you subscribe you'll get a weekly report from veteran day trader larry pesavento on stocks You need to pay attention to and you can trust larry's analysis after all He's got 45 years experience as a day trader larry will also provide daily charts videos and data on the key markets that he's tracking Expect notifications from larry on market movement. You need to act on at any time First time subscribers also get a 30-day money back guarantee If you're not satisfied, let us know and you'll get a full refund within 30 days of signing up Subscribe to the fibonacci 24 7 newsletter today tfnn.com educating investors Tfnn has launched the tiger's den hosted at discord Tfnn has been educating traders for more than 20 years with live programming hosted by a variety of professional traders during market hours The tiger's den available to all tigers and tygruses for just one dollar for the year There's no catch or added costs when you join our community of traders Sign up today and become a part of this educational community of traders Just visit the front page of tfnn.com Don't forget you can listen to tfnn live on your mobile device 24 hours per day Go to tfnn.com then hit watch tiger tv. That's tfnn.com then hit watch tiger tv I was a bullfrog. He was a good friend of mine Three dog night folks and we've got Jeremiah from arizona on the line. How are you doing my friend? I'm doing really good. Thank you for taking my call sir You you're very lucky. There were 10 people ahead of you and you were just squeezed in so what can I do for you? Well, sir, you know, I'm just I've been trying this for a couple years. I have no prior experience doing this stuff and you know, Mike I was just wondering if there's any Words with them you could help put me in the right direction. I watch a couple of your videos And I am all about, you know the gan style You know, even after a lot of everything it just really really fascinates me and I love trading And I want to be the best trader that I can possibly be Okay, I'm going to give you three words of advice. Okay Are you ready? Never give up Never give up Never give up that was a speech that Winston Churchill Gave to the west minister college 1938 when they're getting ready to go to war They were already at war with the nazis in world war two and that's what he said So you live by that you're going to go through a lot of trials and tribulations. I You you found the gan and Fibonacci stuff your second year your way ahead of me It took me 10 or 11 years, but have you ever read my book trade what you see? I just purchased that book. It is Going to be here in a few days. I just found you online about three days ago when I when I started looking into uh You know, I I I kind of did the typical thing where you start trading and then you try like 50 different things And then you switch every time you lose Yes, and you know, you kind of the spiral of changing weapons or whatever, you know, and But I kind of needed that too just to kind of get a feel for what I like, you know Jeremiah email me at larry at trading tutor.com and I'll send you a gift. Okay I appreciate that sir. Thank you very much. See you folks. I'll be on another hour See you next just a few minutes with the trade what you see volume two will be coming up If you want to call back Jeremiah go ahead