Please to welcome you to our program for the book launch of Orphic Paris with author Henri Cole in conversation with Professor Mark Calkins. We are very pleased that we are co-sponsoring this event with City Lights Bookstore and Publishers and very pleased to welcome Peter Maravellis Program Director of City Lights and Cassie Dugan who are here with us and who will be selling books after our program. Now we before we begin I'd like to find out how many of you are new to the Mechanics Institute. Who's never been here before? Welcome. The En Vannu on Mechanics Institute and we hope that this will be one of many visits here. First of all I'd like to invite you to come back on a Wednesday at noon time and take the free tour of the Mechanics Institute and our incredible library which is on the second and third floors. Also you'll see our International Chess Club which is right down the hallway and also you'll get an introduction to our history. Of course we were founded in 1854 so we have a long exciting history here in the city of San Francisco. Also under this incredible in this under one roof in this incredible building here at 57 Post Street we have author programs on a weekly basis, our Cinema Lit film series on Friday night, the library offers workshops on writing, writer support groups, book clubs, Mark is doing his incredible Proust group and also the chess club with its tournaments, lectures, chess for women, children, all ages and all backgrounds so we hope that you'll come take the tour and then become a member and become part of our incredible vital cultural community here. So tonight is very special we're very pleased to welcome Henri Kohl here for the first time. Orphic Paris is a poet's view of his favorite city it is part diary, memoir and essay. Henri is a world citizen he was born in Fukua, Japan and also raised in Virginia and travels often to Paris. He received his BA from the College of William and Mary in 78 and MA from the University of Wisconsin and an MFA from Columbia University. His volumes of poetry include nothing to declare poems, pierced the skin selected poems, Blackbird and Wolves, the 2008 recipient of Lenore Marshall Poetry Prize and Middle Earth which received the 2004 Kingsley Tufts Poetry Award. He is the recipient of fellowships from the Camargo Foundation in Cassis France, the Ingram Merrill Foundation and the National Endowment for the Arts. He currently teaches in the Department of Literature at Claremont Mechanic College. And Professor Mark Cawkins is the lecturer faculty in the Department of Comparative and World Literature at the College of Liberal and Creative Arts at San Francisco State University and as I mentioned before he is the leader of our Proust Group here at the Mechanics Institute which is now in its 12th year. So please welcome Henri Kohl and Professor Mark Cawkins. Good evening and welcome to San Francisco. Tonight I as a Proustian I'm bringing a lot of Proustian baggage in a sense with me tonight. I wonder if we could I'd like to talk about bees tonight. You talk about bees in Orphan Paris. I like to talk about Orpheus a little bit. Fables perhaps. You mentioned La Fontaine. I teach La Fontaine in a class at state. If we get to it maybe the relationship between the photography in Orphan Paris and the word and of course a way to read some excerpts from Orphan Paris. So one of the first things you say about bees is the hives in the Jardin de Luxembourg and you describe them as looking like Victorian houses. I thought San Francisco Victorian houses. So welcome to San Francisco. There are many presences I thought in in Orphan Paris. There's some explicit presences for example your family your intimate friendships. Many poets you mentioned I think most notably Baudelaire, Rilke, Bishop and Plath as well as visual artists. I think there's also I found some implicit presences like Roland Barthes. There's a real warmth in Orphan Paris. A generosity and intimacy that I associate with some of the late Barthes. I thought of W.G. Sebald and his use of text and pictures and I also had the sense that there were some Proustian topoi in this book. You mentioned that one of your first memories is dunking a croissant in your grandmother's cafe au lait. You want to say anything more about that memory? No. It was in Marseille. I was a little boy and my parents were visiting from a military base to my mother's parents and amazingly I have a video film of that time that my father was a real kind of photography nut. So he filmed a lot of these things. So I have video... well actually some of the images in the book are stills from the videos that my father took. Oh very interesting. So I'm going to go off plan. I'm very interested in the fact that some of the images in the book are from family videos. That's amazing. How did you come about going through that material and deciding to include it? Well my sister some years ago, my sister Patricia, some years ago took all these family videos and she made DVDs of them. So I had them. I could just watch them on my laptop and I went through them all. When I was making the book as well as you know there are a hundred images in the book and about 80 of them are from my little blackberry telephone and some are by a friend Susan Unterberg and then the others are stills from these videos that my father made. Was there a principle of selection?  No. The actual conception of the book was meant to... I'm flattered by your mentioning Zeybald and Proust. I don't really think my name should be in the same sentence with them but I was born in Japan and there are these forms in Japanese literature. One is called a Haipun and one is called the Zewitsu. Are those poetic forms? Yes. Well the Haipun is a diary form in which you make an entry in a diary and you write down to a lyric moment of a Haiku or a Tanka. So my strategy in the book was to use the photographs as the sort of lyric moment and the prose diary to be the diary part that would be in the Japanese form. In the Zewitsu it's a loosely connected group of personal essays very often made out of fragments and very often they deal with time and the passing of the seasons and so those were sort of the models that were more uppermost in my mind. They were these Eastern models which I was applying to the setting of Paris. Did you begin with the photographs of men right from there? The photographs... I would say no. I mean I have hundreds and hundreds of Blackberry photographs in Paris but it's possible some of the memory... Well there is one moment where I take a... I amazingly have a video or photograph of my first ride on a boat on the set and that's in the book. That's probably the only occasion where I actually wrote to the image but I like the counterpoint between the images and that you know some of this was on the New Yorkers literary blog the page turner and when you were putting something on the on a literary blog on the internet they were really quite splendid color photographs but for the purposes of the book we made the conscious decision to make them more documentary like and to sort of sublimate them and push the text forward so they have a whole different relationship in a way they're not pretty in the same way they're kind of more hands and they're relatively small and they're very small and some of them are you know it's hard to make out what's in them but unlike with the Zabald model I was certainly aware of the Zabald model I think my favorite book of his I mean I read all the books you know a long time ago when they came out well actually I met him once in Berlin and he was I had the privilege of sitting cross on a lunch table and he was a very very lovely gentleman and I had already you know read all of his books but we had very little to say to each other we were both so deferential to each other and then and then he was dead but have you read his poetry I have read his poetry in fact I had the privilege of publishing a little bit of it in the New Republic when I was the poetry editor there they were past the posthumous poems that were hanging around but the book that I really loved was the immigrants which also I know you had mentioned the rings of Saturn in our communication but both books use this you know this in image as a counterpoint right I think in his case you can actually say a little more about the image as a counterpoint as a pin as you see that happening in cybold well in his as I understand it in his book or in his books he photocopied his images a hundred times to make them to push them as far away to make them unrecognizable almost and they're just there and they do seem to have you know an archival yes sense I don't think minor archival I mean minor sort of prettier and and they're not illustrations but I think they're meant to they're meant to be a counterpoint emotionally in some way you know I mean I think they're I mean they work differently in different places I think you know the the family narrative is an important one to me in the book and so those you know those family images are important and yet I just wanted that to be a kind of backdrop right you know to the the grown-up adult narrative yeah I think you were successful with that thank you so you mentioned there is a part as I mentioned the you described the the hives in the Jardin de Luxembourg yes and then later on you have a little bit more extended development about bees and about Sylvia Plath's bee poems heard the bee sequence for those who don't know the bee and Horace the in odes came up with this metaphor of a poet is like a bee that goes from different flowers to flowers and you know takes something from this flower takes something from this far but the poet ultimately goes back and makes his or her own honey so to speak although has taken from the bee takes something rough yeah you know from the flowers and then refines it into gold and for Horace and for Petrarch elaborates this this metaphor is does as does Montaigne that those flowers that the bee sucks from are actually like other authors and this metaphor in in in the Renaissance in the career of the ancients and the modern you know should poets follow ancient models like Homer and Virgil which have such prestige or should the modern European poet do something that's modern and true to something contemporary so the that model of the Apian model is yeah you can take a little bit of from ancient authors take a little bit of nectar from various ancient authors but make it yourself so there's a kind of like inter it's kind of an intertextual metaphor I think that's interesting so yeah so you you talk about a lot of poets and you cite their poetry and I wondered if there's the relationship of you as a and you identify yourself and I hope you can read as a kind of a what you do is kind of like what a bee does but in particular in terms of relation to sucking the nectar of other poets and well I don't think of the bees that way actually I mean I don't I I think of the bees in relation to the writing process in the sense that the bees are collecting something raw as poets take human experience which is raw and then they assemble it into language poetry being the highest form of the highest art form of controlled language and the bees likewise you know take the pollen and the stuff of the flowers you know I think of the flowers I think of the flowers more as feelings than as individual there's a lot of writing about flowers in the book a whole bunch of writing about flowers and I think when I see flowers I see them to stand in for feelings you might say so you could say the bees take the feelings and then but I I do admit there is something parasitic about the life of the writer and you know who feeds off I would never characterize what a bee does is is parasitic to the flower but yeah yeah yeah so should I read something about the bees there's this little passage you know it's very strange for me to read a paragraph here and read a paragraph there in the book because the way I conceived of the book in a way was for it to proceed by digression and that the digressions are are not pointless but they they're meant to seem a little pointless but then in the end the book has a kind of call collage effect so that when you get to the end you know the parts of it come together there are about eight or ten different we mentioned a little narrative of my mother's French family from Marseille and then there's the little narrative of my my life in Paris and the people that I meet there are two two people that figure in the book very eminently for me one of them is my 92 year old translator Claire Malru who was a wonderful poet and the translator oh from Dickinson to Stevens to Bishop etc and then there's this really lovely man I was fortunate to meet named James Lord who was a friend of artists and a biographer of artists he wrote actually there's a book there's a film that's just come out called what is it called final time final time it's just come out and it starts this army hammer in bit from the what was that call me by your name film an army plays James Lord sit and he's sitting for Jacometti and he goes for 17 or 18 something about you it's lovely what you write about James Lord could you I could you identify him a little bit for sure well he's a he's now dead he died about 10 11 years ago and but he arrived in Paris he would grown up in Connecticut he was sort of a I think a Wesleyan dropout and he arrived in Paris as a soldier a slightly limping soldier at the door of Picasso in Paris and Picasso took him in and befriended him and he has a magnificent book called Picasso and Dora which is a kind of fictionalized account of his relationship with them but he also has he came to know about tooth and Jacometti and all these you know early painters that were working in Paris and he wrote about them all and these kind of magnificent books which are probably all out of print now but you can get them very cheap on Amazon and he befriended me or I befriended him I was given a connection to him through my editor who and James sort of took me into his life over this year that I was there and you know we spent a lot of time talking about paintings and in his living room you know he would always sit on the sofa and I would sit on this adjacent seat and he would drink a Coca-Cola and I would have a scotch and behind him hung this amazing portrait of him by Jacometti so this film that's just come out is about these 18s he wrote a book called sitting for Jacometti or some tiny little book about he must have rushed home and you know kept a complex elaborate narrative notebook of all the conversations and all of this was you know must it's used as a screenplay really for this film so I recommend it to you if you want to get a little taste of it certainly I think James would have been very happy to be you know to have Armie Hammer play him but James was a handsome man too he died in his 80s there's a there's a whole episode of the book written about him and after he died I received a letter amazingly from him and it took about 12 days for the letter to reach me and you know he died I think just of a heart attack but the letter was just an update and included in the letter was I always brought him flowers whenever we had supper and he made a like a Matisse like colored pencil drawing of these flowers and said you gave me real flowers and and all I can give you are these you know hand-drawn flowers and he inserted and amazingly it arrived after he was dead after the New York Times to find an abituary of them so one of the 17 parts of the book is a portrait of him you want to read some of that we've been digressing a little bit we you were gonna read about bees but where is that do you know I don't know I don't know where anything is in the book I have to say also I'm about to turn 62 years old and I have nine books of poetry but I have never published prose and I feel like an imposter reading prose for that reason but you know I had the sense sometimes that this was a lovely prose poem oh well thank you that's very nice it was certainly you know it certainly was hard to write prose is just so hard to write because there's so many more words wait wait wait I have to I have to hear about that tell me about tell me about prose having so tell me about prose having so many more words well or the way the book is actually conceived is like a lyric poem which is the you know in a lyric poem you take uncommon disparate things and push them together and you try and create something fresh something new you try to move towards some fresh knowledge of some sort and that's the way this is done I mean there's not a lot of exposition connecting anything there's not a through narrative in a way it's just a book about a conversation with myself about 15 different things that I hope will be you know interesting these are one of them flowers are one of them my family is one of them loneliness and solitude or one of them homosexuality is one of them there are you know maybe a dozen things you might think of the book is like a carpet through which there are you know 12 different colored stripes and those stripes all together make the carpet that's what I wanted how I wanted it to work I think I see that yeah so given that you feel uncomfortable taking these passages out of oh yeah out of context should I just read the 10 things yeah I mean how are we doing we've got about 10 minutes before we open for question okay I'm sorry you want to start reading from page 164 okay I think Paris is the city of the beloved we talked about that the last passage of the book is a kind of ecstatic praise praise poem you might say for Paris I mean a praise poem praise passage it's not a poem at all this picture my mother was a passport photo she's beautiful my mother died maybe 10 years ago and after she died I started going to Paris three or four times a year just because I loved being around the language it was the kind of mothering presence and that's really how the book got made was just through those very frequent visits and beginning to make notations so I think of Paris I think Paris is the city of the beloved some say a man goes mad if he is without love it is said with such a childlike simplicity the subject and the object to making a little clump of letters to support the M and create a memorable sound package it seems to defy the need for further explanation Jim Baudelaire his father died on the sixth birthday who stepfather sent him away on long voyage when he was 20 who lived for his writing and desired to derange conventions who was the first poet to write melancholic conversational poems about the demons and perversions of his life and yet whose art shrine art shines with an organic perfection of form Jim Roca though he found Paris oppressive his poems speak in a low calm voice he says in his book of ours let everything to let everything happen to you beauty and terror just keep going no feeling is final Jim James Lord who my last saw at the Hotel de Cuyol redone into a whorehouse he complained the corridors and shiny marble and golden with Rolls Royces and Jaguars with big hood ornaments waiting out front still his friendship like soup meat and wine nurtured the poet of iron goodbye sweetie he said his gift of friendship not accompanied by any claim the gem the poet and translator Claire Malru an alchemist of language whose translations transport transfer and transpose poetry from English into French and find a balance between passion and reason empathy and analysis blur and precision gem the kisses Parisians give one another touching their cheeks and allowing men to do the same though they never lock their arms and embrace gem the dogs and cats in the neighborhood as numerous as the children writing this now I can hear a litter weeping for a bowl of milk gem the silver splashing splashing sand river shimmering against its bank its banks in sunlight and at night with street lamps that sparkle like diamonds on the murky water surface gem Parisians strange obsession with their livers drinking no cold beverages with ice and keeping the windows close tight to avoid the current dare gem the expression j'yvée lâcher les vêtres les vitrines meaning literally to lick the windows while window shopping and LA a côté de saipom meaning that she is next to her pumps when she is not feeling quite like herself gem the sympathetic oysters sea urchins and crustaceans displayed on platters of ice outdoors on the avenues like vulnerable paralyzed edible artworks gem the BBC affects that Parisians deploy when speaking English with heavy action accents I shall see you in a fortnight at fontaine bleu gem the a gliss de la Madeleine because of Mary Magdalene whose boat without sales is said to have landed like a migrants at the mouth of the room before she took refuge in a mountain forest cave gem the cures with octaves octaves a figure in the book black currant liquor topped off with white burgundy at the cafe were stoned in winter sunlight overlooking the Luxembourg garden gem and Julie who lived through the Nazi occupation of Paris as a Jew and who never fully wrecked recovered from a broken heart after her brother died we drank chicory together and she was kind to me gem the little wooden matchsticks aloo met with rose colored combusted tips which I like the gas stove with to make cafe au lait in the morning gem the colonnades of gnarled trees at the Jardin de plant with their big scarred trunks and the red poppies scattered everywhere with bumblebees hugging their statements gem the handwritten brasserie menus the cursive writing less rigid and box-like than print with the feminine flourish like a bougeau gem the electrician who speaks with the heavy Marseille Marseille accent like Uncle Gabriel and who believes that Americans put ketchup on everything gem the myriad shades of blue and the flower shops of gray in the sulking sky of gray in the sulking sky and the primary colors in the ubiquitous in the ubiquitous posies in the squares gem the sweet cherries cavallion melons morel mushrooms and white asparagus at the Marseille at the Marseille gem the flountains that make only a little sound when you walk by gem how things change only slowly despite the endless groan of construction and refurbishing gem the peace beauty and sense of calm that allow me to contemplate the lives of my maternal ancestors gem the Buddhist monks and the Mormon missionaries Aaron and Judd who hoped to convert me and with deep blue eyes almost did when we prayed on our knees together gem Gabrielle Michel and Raphael the lifeguards at the municipal pool who tried to revive the swimmer who suffered a heart attack were they the archangels I dove to the bottom and retrieved as goggles drifting there gem the railway cars spewing marvelous whiffs of steam at the San Lizar station in the Impressionist paintings at the Musée d'Orsay where color and light achieve an abstract vision gem the decrepit elderly who inched down the avenues with two canes to prop them up who impose on nobody and nothing but time gem la closerie de Lila's were poets once met regularly eating poached had had it with spinach I translated a quatrain that Octavia Octavia pause wrote there quote to most to the most romantic corner in Paris where I left my heart to my illusion between the glasses of red wine and quail breasts I leave this epigram full of affection gem the red clay tennis courts of Roland Garrows where I watched my favorite player powerful and restrained past his prime yet elegant like a god in his twilight gem the Napoleonic civil code title five chapter six on marriage and the respective rights and duties of married persons updated to include gays and lesbians and gem Octavia searching affectionate funny still finding his place for a time I lived here where the call of life is so strong my soul was colored by it instead of worshiping a creator or man I cared fully for myself and felt no guilt and confess nothing and in this place I wrote I was nourish and I grew and may I have to thank him for switching things up at the last minute and asking me to read that because I didn't want to read it and actually I loved reading it so thank you well this did not go how I planned but I'm so glad um there is there is a final image after after what you just read what is that a picture of these two people that's my grandfather yeah and that's actually my older brother everyone will think it's me but I used it because because there's I you know I only really met my grandfather once or twice and I love the image that's one of the stills from the video where they're walking down the street of Marseille I must be about two years old in that picture and your grandfather how does he his place at the end of the book well I don't know it's is it sentimental my my translator Claire didn't want me to put that picture there but because it's she thought it softened it but I I don't know hey the book for me you know we're living at a really course moment in American history and I wanted the book to sort of be tender in a way that I feel our days are not too full of tenderness so that's probably why the book is picture is there is the final little note of tenderness I think I think tenderness was really effectively thank you yeah it's it's hard you know in poems when you're writing poems you can write praise lyrics but it's hard to you know make a living just writing praise lyrics you you know you become you know you become a kind of you know you become a kind of caricature yourself very quickly but it's a little you know this is the book this is kind of like a love poem to Paris I suppose so it represents a side of my personality but doesn't get a much chance to be in the poem I think which is why I feel it's an important book for me I'm honored that this is how I got to know you oh well good yeah the poems are a real downer compared to the book yeah I have to say that though this you know this book does have shadows through it yes a lot of time is spent at Montparnasse honoring the dead thank you I'm glad this did not go how I play I'd like to open it up to questions I first off I hope that was interesting I have no idea it was what we were gonna do and how to do it but I'm happy to try and answer any questions coming around with a microphone coming away coming away yes you have a copy there just made a statement about thinking about this last image and that perhaps it's softened it and I just wondered if you could talk more about those thoughts I think it was because of the words I grew that I wanted to show a little boy with his grandfather I think that's really it's that simple that is my grandfather you know I was dandled on his knee when I was a tiny little boy he died when he was in the 1940s my mother's grandfather my mother's father so in terms of other images oh well it's you know all the pic you know the pictures that are film stills they're all they all have something about their coloring and in there well they're these black and white but the the color versions and they're all slightly out of focus and they're all you know they're vintage like and they they you know they exude nostalgia and I think nostalgia I guess I feel I feel as a poet that nostalgia is something one let's guard against constantly I do feel that because I fear sentimentality so there's a risk with that tenderness to become sentimental yes I think there always is and there's nothing will kill a poem faster than sentimentality I mean I suppose there's a whole genre fiction writing that is just sort of romantic and you know romantic sexual novels but I think that's what I mean I wanted there always to be you know the great thing about those deep poems by Sylvia Plath that she wrote in a week at the end of her life is that they're very hard edged and I wanted this book to have a hard edge but for that not to exclude tenderness as a presiding emotion in the book and there's tenderness for Mr. Lord there's tenderness for Claire my translator there's tenderness toward Octave and it's kind of a reciprocal emotion because I feel I'm being entranced by Paris you know it's in that sense that I wanted to call the book or Orphic Paris it's just that the Orphic is an entrancing power the way Orphic is used to fly or to entrance I feel Paris is a kind of entrancing force so I allowed myself at the end of the book a kind of ecstatic gush of all this all this the word love repeated I've never used the word love in French did you discover anything new about your family in going back and looking at these photos and reflecting was there anything surprising that you rediscovered about your past and your family well I just it feels the film is just filming with all my parents on yeah yeah on what way just that they you know my parents had five children they just had so little I think that would it just fills me with all what do you ecstatically hate in that there's ecstatically hate rudeness rudeness rudeness rude waiters they're tired of the tourists yeah that's hard to escape that sort of tired of the tourist thing I tease clear I gave her a no button you know you push that the clear of my translator I tease her because I'm always saying to her favorite word is no you know so I gave her a button that you push it and it says no in 10 15 20 different ways I hate the word no you know one of my favorite words in English language is yes no but you must have had so many impressions how did you ask a writer or just as a subject approaching these different elements how did you organize all your impressions because there must have been so many well I wrote them in I wrote there's 17 parts and I 17 and I wrote them in parts you know I mean but in you know like one part in six months so they were really and I perfected that part and then I have to say I didn't it wasn't until I'd written five or six parts that I began to see kind of what I was doing or what I wanted to do they become more thematically focused as the book proceeds I showed them all to Claire my 92 year old friend and you know she kind of went over the book is coming out in French as well in the summer and we wanted the book to not you know there's a whole kind of writing about France maybe that is suitable for Americans but not suitable for but I wanted French people to like it as well I mean for it to be interesting to French people because it's really celebrating their their culture and their landscape so there were certain you know like there are certain things that she would cut out because of that factor like food actually there's almost no writing about food in the book we agreed that I would not write about food because did you want to write about food well there there's one passage about food in the right a long sequence on the Christmas Eve or Christmas dinner and New Year's Eve or these big you know epochal dinner night so one of them I write about that I was your family yes with my French family my French family is now all dead the uncles that I met and knew all dead like my parents but in my 30s I went to France for the first time and had these amazing meals with you know I got to know my uncle Gabrielle and my uncle Mayuse who were very old country might say so yeah you know as I proceeded I realized I had to bring things in that had burned you know I had to keep the thread coming back in a certain case but I didn't know that when I was starting in that makes sense I only realized that as I went along first writes about retroactive unity retroactive unity you know in a sense of there was some kind of that's what critics provide you know I feel you know I know you know that when you're in when you're writing you're in a sort of close focus mode you're not in that sort of satellite mode of seeing everything globally when I'm writing I'm really in this so it's very often hard to you know to when I wrote them I put asterisk when I wrote the path I put asterisk between the episodes to provide breaks but with their only spaces in the book and that was an interesting editorial decision they didn't want you know those kinds of breaks and I think they made the right choice I really am happy with the way it flows more I think there's a little extra space to a degree where they written in order the parts they were written in the order they appear and I wrote that last I mean I wrote that last episode as the finish you know I feel like I could write another book just the same idea just the same thing about you know with 12 different things you know doing the same thing just with different subject matter we're like proofs visit I was telling him I'm embarrassed that because he's a proof scholar that I have you one of the things to do in Paris is to visit the proofs bedroom and I've never done that in all these years I have nothing to say about that yes I wanted to make one comment and then ask a question to it the comment is about the wonderful passage you read I was constantly hearing echoes of Walt Whitman yes and the reason I mean it's it's a piece of an anaphora where every line begins with the same words and then it's it sounds like free verse so I kind of wondered if you had written it in mind well well I think whenever you write long lines and anaphora just for those of you that aren't poetry people anaphora is repetition at the beginning of the line epistrophe is at the end of the line and I mean the two people to think you either think of Whitman or you think of the Old Testament you know those are the two things and he was thinking of that certainly Whitman was yes exactly so and also because it is praise you know instead of praise of the earth praise of the it's praise this is praise of a setting so yes thank you I mean that but that's sort of like Proust and was able that it's ridiculous for me to claim any relationship to these people and here's my follow-up it's about the translation one of the reasons that last passage works so beautifully is the transition from the French anaphora to English so in the translation is the French change to English well that's a good question I haven't seen the translation I guess it is it must be right for it to work no oh maybe it isn't no maybe it isn't I actually don't know I'll have to ask I feel embarrassed that I didn't ask her that there were there were tiny little edits that she did make for the French audience but if there was a point at which I just yielded to her that I trust you but that's a good question that that's a very I'm trying to think if there's anything else in the book like that that might apply in the same way yes yes it wouldn't yeah it wouldn't I am not bilingual you know I speak French like a very intelligent six-year-old well I grew up my father was in the military which is how he came to meet my mother after the war and my father retired in northern Virginia so I went to college there and there was a poet in residence there and I just you know took a class with him gosh now 40 years have gone by I can hardly believe it I love the poet Elizabeth Bishop when I was a young man I love the poet James Merrill there are two two poets in Boston Louise Glick and Frank Fadar who are sort of my favorite living American poets now nice to see all these hands thank you the photographs that you used as a poet what do you think I mean even with Ceball that I've always wondered this does it enhance the poetry for the reader because you're using your own imagination while you're while you're reading this and then there's the photographs yeah which sort of I mean I haven't seen the book I'm sure yes you know in the next 10 15 days I'm giving a lot of readings and in each case I was asked if I wanted to show the images when I was reading and I said no so I guess bottom level I want the writing to be able to list exists without the pictures but I think the pictures do add something and I don't know that I can say exactly what except maybe I think the way the book is written is that it sort of expands and contracts expands and contracts sort of like breathing and the pictures I think you know are part of that breathing process they give a little you know they give a little respite from the intent did the book is so highly descriptive you know that it's not and it's not like there's this exciting sexy narrative you know so you know it's not this there's not a lot of speed and the right reading you know it's intense reading and I think the pictures are meant to just give some air some some breath space in your reading I just it resonated a lot with my feelings about Paris too and many people's feelings about Paris and I'm just curious about the reflections on Paris as a like kind of a human invention I mean the Emperor Julian called it his beloved Lutetia you know so it's been loved like we love it for two thousand years why why there why that place it kind of is astounding yes well I I do feel I should add that one of the things that makes Paris special in addition to its supreme beauty you know the buildings the river the avenues is the fact that the historical past is documented I mean I'm always amazed by the plaques that I come across that you know a young soldier was shot on this corner a member of the resistance was held captive here I mean it's amazing or that thousands of school children were shipped from this very school to you know the camps I mean that is part of the that is part of what gives it in an intensity to me it isn't just about aesthetic beauty it's it is this juxtaposition you know and I know it was from my mother you know in writing about my Marseille about the what yeah it's hard America you can't feel it in your feet and even after walking ten miles I'd also say I'd also say the Parisian sky the sky the sky the way the clouds are and the gray yeah yeah yeah I mean it's an excellent question and Americans seem to be there is there is an extraordinary I mean for me they're part of it is the language that I I do come I come to love the language and I try and read as much as I can in French and I know that's connected to the fact of my mother my mother spent her whole life trying to be an American woman you know 50 years she spent trying to be an American woman and then in the very last couple years of her life she completely regressed to the French language again so that's part of my attachment I'm sure to to the language anyway any other questions how are we going on time we're winding up yeah well I think if there are no more questions I think it's time to go back to the past bring it to the present taste the beauty the tenderness the extraordinary inspiration that Paris has to offer so I invite you to come up and buy a book Orphic Paris and to meet Henri Cole and to talk with professor Mark Hawkins about Proust or anything else bees orifice Orpheus and join us for our next program merci et bonsoir


Welcome to Access a Trader, the number one community for those who are committed to taking control of their trading in order to achieve success, profitability, and longevity. Thank you for joining us. Here's Dan Shapiro to help you find your edge, master your process, and own your future. Hey guys, giving everybody welcome to another edition of the Access a Trader dot com nightly wrap up show. Hope everybody is doing okay. So I apologize. There was no video yesterday. We had a crazy storm in New Jersey. It was like sometimes like an 80 mile an hour winds. I don't know if I got that aggressive, but I was outside my daughter playing some playing some ball. So you got pitch black and I literally like night at around four o'clock 430 and literally wiped out my internet yesterday. Finally got a background 730 at that time. I was ready just exhausted. So I apologize for that. So let's talk about the market today. Very, very odd day. Again, this is one of those days that I think the scoreboard again doesn't do it any justice. If you look at the indexes today, you'll see quickly what I mean. If you didn't actively participate in the day today, cues above the five day moving average, very, very constructive. The Russell represents a lot of the smaller to mid cap names above the five day moving average. The S&P will use the spies as a proxy again, broke out above the 200 day moving average four or five days ago. And now it's kind of a moving a nice uptrend. So you're not going to get a really clean view of what we saw today, but it was a very, very odd day. There was a lot of aggression early. Okay. And it was very, very much weakness in the afternoon. And it wasn't like one of those things that stocks has got exhausted and they burnt out and they went lower. There was just something wrong. There's something in baseball that's called an in between hop. Okay, for all you guys who watch baseball and played baseball, you kind of know when the batter swings the ball, right? They swing and the balls hit usually to an infielder, right? Well, it's going to be to an infielder. Usually to the third baseman or the, you know, the shortstop, the second baseman, the first baseman, the ball is not hit hard enough. So it could be a lineup, you know, a pop up. Okay. And it's not hit soft enough enough for a ground ball. It's like right in between. So you need to kind of make up your mind within a second. Are you going to die for it, right? To try to catch it on a fly or are you going to wait for the stock, for the ball to drop, to pick it up and see if you have enough time to throw the runner out of first base. And I felt like that's the way the market traded today. For, yes, they kind of rewinding. If you looked at what the market told us yesterday, at least told us that that was up 500 points, right? And you can make an incredible argument yesterday that three or four names carry the action yesterday. Boeing, ZM into earnings, squared the continuation of its 8420 breakout from the previous day. And I forgot what the other one was. Okay. It doesn't make a difference. So if you looked at the action yesterday was kind of brutal, right? Very, very slow, especially towards the second part of the day. And again, I didn't have a chance to kind of echo my thought process going into today's day. But I kind of felt that, you know what, there was going to be better value today because the way the market's been trading, especially in the last several weeks, when you have a very, very weak and uninterested market like kind of what we saw yesterday from the broader tape, the next day usually kind of get a wake up call. And that's kind of what we did in the morning. And you saw some pretty good value in the morning and then things stopped, right? Things really stopped. And it wasn't one of those scenarios. It stopped and the volume dried up. It stopped and bids kind of went away. And the problem with this afternoon's action was, again, when you look at the indexes, the market did not call for a sell signal. Okay. Many stocks that got hit, well, at least the word hit is a very, very aggressive word. Most stocks that kind of came in were the same stocks that had aggressive buying. And that was a little bit unnerving. And it's something kind of for us to watch for tomorrow. Now, again, the odd part is when you look at most names, okay, we'll talk about the individual pivots in a second, when you look at most names, most names are just really healthy, right? Really, really healthy. And again, you can make an argument Amazon had a big move, went to this 2502 area, actually went to 2507. There was a nice pivot on Amazon earlier this morning and just kind of came in. You can make an argument. Then the video had a really, really nice run and then came in. This was actually, you know, actually was pretty, really pretty good trade there as well. Netflix as well attempted to get above supply, went up a little bit and then came in. So you can make all these cases, right? But the problem is, if you look at the companies that are predominantly controlling the action right now, and this is where you should really, again, especially if you don't trade beta, this is when you really have to do your homework. It's the stocks that are coming in off the bottom that are really irrelevant areas of trading, mostly kind of investing. And when you look at names, for example, like, for example, I just want to give you an example for something that like I'm watching tomorrow. Usually I, you know, I kind of leave for the beta off. But if you look at stocks like this, right? For example, like at NAV, right? A stock that, you know, had a big move came right back in. You're seeing a lot of names and a lot of setups that look like this. And although there's absolutely nothing wrong with a setup like this, I went through a lot of charts tonight. Okay, a lot. And I didn't just go through beta. I went through a lot of names. And most names that I see that are okay, okay, that are pretty good, that are worth considering, it's nothing that I would even look at. Because again, a stock like this, although, you know, it looks good. And if it confirms $28 has a shot to go to 30, it's not something that I trade. It's not something that interests me. It's not enough volatility for me. There's not enough true range for me.  So it's not really my cup of tea. So I started looking at a lot of charts today, and they all resembled a chart like this. I mean, the stocks that were strong resembled this. You know, names like Picard and although Picard, for example, is, you know, a good looking chart, right? A really good looking chart. Again, look at the ranges where the stock goes, right? And you can make an argument when this thing looks like it wants to break out. And that's great. And the stocks that look okay for tomorrow are all looking like this. And if you look at stocks that are starting to break down, right, that went from basically potential breakout to break down, you're getting names like Netflix. You're getting names like Roku, right? You're getting names like Netflix. You're getting names like Roku. Tesla, millions and millions of dollars, right? 950s, 960s, 1000s, 1100s. We've been talking about this in nausea for three days, right? And we've been talking about that 900 level, 910 level, not 899, not 898, not 888, not all these things. Technical analysis, technical analysis. So what's bothering me today, okay, number one, a lot of names that are supposed to be strong, that are supposed to follow through, they didn't. What also is bothering me, the market is still being bit up, literally by the Dow stocks, Boeing, monster. Nobody could take away anything from Boeing. Boeing was huge yesterday, had another big move today. So nobody's taking away from the specific actions of specific stocks. And there's nothing right now that you could turn on and say, well, my alarms are going off, my antennas are going off, there's something wrong with the market. But if you're trading the market, you saw exactly what happened today in the morning. Things went really, really up aggressively and really fast, right? BYND, Boeing, NVIDIA, right? Big, big moves. Amazon, really, really big moves. And as fast as the way they went up, the faster they went down. So there's something wrong, okay? There's absolutely something wrong. And the most important part is when you're getting into a market that you feel that something is wrong. And again, something wrong doesn't mean up or down. Something wrong means the structural balance is very, very, at least in danger, a possible danger for really, really hurting your specific trading style. Now for me, again, I trade challenges, okay? I'm very, very conscious of what's going on in the world with the riding, with the 40 million unemployment with, again, if you look at pictures, okay? If you look at pictures from Midtown Manhattan, right? Fifth Avenue. And you look at all the businesses there, Prada, Gucci, Saks Fifth Avenue, Tiffany's, right? They're all boarded up, okay? Every single one of them is all boarded up, okay? And now we are getting close into that reopening America, right? Everybody reopening America. Where is everybody reopening to? Where are you going? So I get the whole point, right? I get the whole point of this market is very, very close for any type of bad news to really punch it in the face so I get it can happen at any time. And again, for the last two months, we've been seeing incredible market action to the long side. The problem is this could happen at any time. Again, we say this over and over again. If it feels wrong, it's probably wrong, okay? And the last thing you should be doing is pushing, pushing and pushing and pushing at levels that you're trying to predict where a stock is going to go next. Again, technical analysis is there for a guide. Again, there is no room for interpretation. When I hear, when I've been talking about Tesla, macro move, 900 sneaky, 910. 900 sneaky, 910. Somebody will email me and say, hey, Dan, I'm long the thousand calls. What do you think I should do with them? Well, why are you in them in the first place? Okay, stop guessing. Stop thinking. It's the most frustrating thing when people take technical analysis and completely remove the tangibility of it actually existing, okay? When a stock needs to take out a macro move, guess what? It needs to take out a macro move. Okay? It's not there just because for you to enter a price that you shouldn't be entering. But that's a whole conversation. That's a whole different conversation. The more I think about it, the more agitated I'm getting right now. But okay, let's move that away. But I think what's happening is, and we're starting to see this based on the really second, third, fourth tier names kind of coming off a bottom and at the same time, really aggressive vehicles that had big run-ups but yet they couldn't push forward over supply. That's a big red flag. Because the last group that always goes up is the septic tank, right? It's the stocks like this, okay? It's really the stocks like this. The stocks that just couldn't get out of their way for months and months and months and months. And then they finally creep out right before the last gasp of breath. And guess what? They usually probably wind up coming right back down. So these are a lot of issues I'm watching going into tomorrow. There's a lot of names that are close, very, very close confirming downside channels, very close. I mean, we're talking about five-day moving average, the 10-day moving average names, very, very close. So I think tomorrow could be a day that if we get a gap up especially, and these stocks get stuffed into supply and they start confirming the five-10-day moving average, it's a wrap. It's an absolute wrap. We had exactly the same conversation last Wednesday when I turned around and said, man, I'm 100% cell bias. Well, I'm not 100% cell bias because again, we're not getting that 100% cell bias signal going into tomorrow. But damn it, there's something wrong. And when there's something wrong, the last thing you should be doing is quote, unquote, looking for breakouts, okay? Looking for breakouts on names that again, 99% of the time probably shouldn't be traded because they're not tradable. So I think tomorrow is going to be a very, very tricky, at least opening. I think we're going to have to wait till the 10 o'clock channel, the first candle of the day to get a little bit more clarity. The most important thing is stop thinking. Traders are so smart. Everybody's so smart. I'm the king of the idiots, but everybody's so smart. Everybody's thinking and anticipating. Don't anticipate. You're not paid to anticipate. You're not paid to think. Just wait. Wait for that confirmation. If it comes, you put your money at risk with sensibility and high probability of the stock working. When it doesn't, you don't guess what happens next. Okay, we're not that smart. I've been talking about this for years. If you're guessing, okay, you are going to fail nine out of 10 times. Again, we're not Ms. Cleo. We don't have a crystal ball. You're either waiting or you're out of this business. It's just the reality. And again, these words are not supposed to, you know, to make you nervous. They're supposed to put the fear of God in you. Okay, so stop thinking. Stop anticipating. Stop overreacting. Again, we're not that smart. Going into tomorrow, again, you know, I'm going to be 50-50 sell bias, right? 50-50 sell bias. I want to see how things play out tomorrow morning. Again, I'm not in any rush. Fridays, Fridays are, you know, usually a very, very aggressive day, but I am a little bit sell bias. I really am. So based on what I saw today, again, things shift very, very quickly in the market. So you have to shift with it. But again, you have to have an opinion and wait for that opinion to play out. So what I hear is kind of like what we saw today, you know, pretty much a tale of two tapes. So I was looking at NVIDIA to the downside, obviously never got to the 346. I actually caught a really good pivot on the breakout, right? Waited for that breakout, caught the breakout. Again, here are the levels. We were watching, we've been watching the same levels now for three days, right? And although the buyers were coming in for the 950, the 1,000, the 1,100, the 960 weeklies, right? Over and over and over again. It doesn't mean they're right, okay? They still need to confirm and they never confirm. You never put on your full position on anything, okay? Until it confirms macro.  Until that happens, you got nothing, okay? You only have a trade setup. You don't have a confirmation. Goose, I still like, never confirmed. I still like this Goose Twitter. I still like, never confirmed. NKIL, not a big move. NKLA, $38. You know, went up about a buck. Then came back in with a lot of things as well. Not really anything going on there. There's some big, again, these are the, pretty big pivots here at the open. Amazon 2489, 2490. If it builds, it could go. Again, I thought Amazon was going to get to, I thought Amazon was going to get to 2502, went to 2507. Again, here's the pivot, right? Here's the pivot, got all through this. It put up a really aggressive candle. And you say to yourself, man, these things are looking strong until all the bits crapped out. So again, always take money on the way up, always use break even as you stop. Roku, again, 103, 20, 103, if it builds below, can flush. Macro-wise, it did the right thing. It's actually setting up really well for tomorrow. If you look at the 103, 20, it traded right down to 101, 50. Now, why is that important, right? Double bottom for now, right? Because that is the low from the 27th tomorrow. If this thing starts cranking, especially below the 101 area, there's a shot, especially if they pull the plug. There's a shot this thing gets down to 97, so I really like Roku if he took a good job there. Toll brothers, again, nothing big there. Put up an initial move to 36 and a quarter. And again, this is the whole point of what I'm saying, guys. If you look at a chart on Toll Brothers, this is my whole point about stocks that are looking strong today. They all look like this, right? Like here was Toll Brothers, perfect example. Went from 36 to 36 and a quarter, rolled over. It's the same thing as we've been talking about in the last few minutes. A lot of names are just kind of got destroyed. Went sideways and attempting to pick up their necks, and then again, stuffed. Again, this is what I'm seeing. This is a big, big red flag, especially going into tomorrow's session. Boeing, again, monster of all monster. I mean, we saw everything today. We saw the 190s. We saw the 195s. We saw the 200s. We saw the 210 calls just exploded. Congratulations. I know a lot of you guys caught this trade really, really well. So here is the 101.50, and just absolutely exploded when all the way up to almost 189. Boeing is just an absolute monster. It continues to be a monster. So take on the way up, obviously huge move there. Netflix, again, perfect example. 47, 60, 28. It went to like 28, 78, and completely reversed, right? Again, here was a sneaky pivot on Tesla. Again, these are why these numbers are very specific. 896 sneaky, again, 910, still big areas traded to 895, 75. You can see how specific these areas are. Again, you can't anticipate a big position until things confirm. Again, here was Amazon. I said 2510 next supply trade, 2507, big move there. Nvidia, this is a really good trade. Nvidia 253.50 needs to build 355 macro. Again, macro, that's the key word. Macro, that's the stock where it confirms daily. So here is the 355, right? I got long on this. It was a nice, really, really nice move. Really nice move here. So here is the 355, right? Here's the 355 macro. It took out the 355 macro and put up a $4 candle right away, right? Like right away. Again, that's the whole point of macro. Again, what I don't like is completely reversed just like everything else. That's why, again, the warning signs are there. BYND, 138 needs to build. Again, exploded. Absolutely exploded here. Here was BYND, right? Here was BYND on the 138. This whole channel here, 138, 138, 138. And it went to 42. Big, big move. And then look, look how easily it reversed right back down. Again, these are the warning signs. What I'm saying going into tomorrow as well. Nvidia exploding beyond exploding. Actually went to 142 and change. Sick move, right? Sick move. So look, it's very easy. It's very easy to click a mouse. Incredibly easy to click a mouse. It's very, very hard to click a mouse properly. And again, I get a lot of you guys are still new traders. A lot of you guys still trading two, three, four years. And the fear of missing out is going to get easier and easier every single year. It does. It becomes a lot easier. Everything about this business becomes easier. Managing position, getting rid of a bad hand, taking a paper cut, not turning it into a severed head, sitting on the sidelines when you have to, pressing on the gas when you need to. These are all going to come. But again, it all stems back to technical analysis. And if you don't wait for that green light for the macro view to confirm, you're not going to be trading. These are the facts. Okay, guys. So again, ask me before you do it. It's very, very simple. It doesn't cost you any money to ask me my opinion and get it for all you guys, especially you guys are trading on the option side. You guys are fighting time. And think about this. Does it make any sense for you to buy, for example, the 1,000 call on Tesla if the stock can't get over 900? Just think about that, right? Think about that and you'll see the rationale behind it. Guys, have a great night, everybody. Tomorrow's Friday. Stay safe. Love your neighbor. God bless. I'll see you all tomorrow. Congratulations for putting in the time to take control of your trading. You're one step closer to owning your future and achieving the success you desire. Want daily trade ideas directly from Dan? Straight off his personal watch list? Unlock our free PS60 vault where you'll get nightly updates on pivot opportunities we're watching for the next day's session. Click the link in the description to get started today.


encouraged you the most about Sunday? Well, I think as an offense, we operated about as clean as we have all season. And that's really all 11 guys and we were able to sustain drives as a really short game. Think about it, not a ton of possessions. And you know, we went out there and we executed, especially in the red zone. So it's good to see. Did you see evidence of maybe some cleaner pockets and better protection than you'd seen in a bit? You know, each week's different challenge. The line did a really good job last week. It was the whole offense. All 11 guys, you know, a lot of times in the passing game, it's easy to focus on the line. It could be other issues.  Really, there's multiple fact, but I think in all 11 guys in the passing game last week pretty efficient. I think it was eight guys were able to catch a pass in that game. What led to the full distribution of the football like well, I mean, you know, a lot of weeks, you know, we got a lot of guys we tried to get the ball to and every week's different. And some things, things take it out or, you know, you get out of a play because of a certain look and it just doesn't fall that way. But last week was one where we were able to get in a rhythm and just kind of the way that the way the game went and it fell and it was good to see because that's you want guys getting involved. The more guys, the better. What do you think about Ryan specifically as far as his decisiveness is how you handle the huddle just as poise for first start? No, it was, you know, Ryan's a vet and he's a good pro. And that's, you know, those, you know what Ryan brings to the table. And I mean, if you had to go out there and start a rookie for the first time, there could be a lot of different factors, but at least we were pretty confident in knowing Ryan's history and that he would go out there and play well. How encouraging was it also to be able to convert as many long third downs as you did on Sunday? Yeah, no, you don't get the percentage already don't get many of them. But that the one that Johnny Hibb was big. It really was because a lot of times you get in those situations and unfortunately we had had a negative play and where you are in the field and there's a lot of variations and the percentage already don't get many of those. But and Ferk made a great block. Darius, DJ, Corey came across, Johnny broke the first tackle and then exposed to play. Your impressions of the run game. I think that's one thing that's getting lost in last week is how well Derek Henry and those guys pushed off the ball and 90 hard yards. He did. It was and that's what said the game was short. You know, it felt like the clock was moving the whole time and we obviously Derek's a big piece of our offense and we feel that to get him going. I mean, you're going to take a couple. It's going to take a couple hits and each week would be a good challenge and you know, was able to and it's you've seen it in the second half of the Atlanta game. You saw it last week and we feel we just got to continue to get better. And they're the one against the run this week. So the challenge is there. The challenge is there. They're very good inside. They're salty. They'll be moving around pressure. So we got to work cut out for us. I imagine you're probably as close with Delaney as probably many sure anybody on this team. Do you find yourself trying to encourage him to try to keep him positive as he kind of works through maybe a less than ideal situation? Yeah, I mean, it's all those guys. I mean, it's it's that's the challenge you I love about the NFL and the job that you know, I was fortunate to be in for in the challenge each week. It's unfortunate that injuries happened. I've said no Delaney very well. You always want guys to be you know, in a good mind set if they got to come back from an injury and he's engaged and Delaney knows where he's at. And so that you know, you want to get into any kind of injuries but from anybody's mindset, we like to get a lot of guys involved and he'll be ready when he's ready. Walker situation has led to a lot more opportunities. I would imagine for John Smith, you spent a lot of time with him. What are your thoughts on how he's bounced back and how he's rounding into shape? Yeah, New did a really good job last week. He caught two of the best passes that best hit two of the best catches I've seen him make since he's been here very first play of the game. Balls put it right and put it right on the money back shoulder new comes out of the outside of the framework of his body snagged it even the one down in the red zone did a heck of a job catching he's getting you know, it's like that's a very difficult position. And we put a lot on John who's ever since he's been here. You know, he's a guy that a lot of people rejected at f he does a ton of roles for us as all those tight ends do and he's stepped up. But those those are me think about that position alone. You're asking guys that go in there and a lot of plays do the role that you're asking 300 pound tackles to do and then you're gonna ask him to come in there and do a role of the 205 210 pound receiver. And a lot of times it takes a few years depending on their you know, their background, their skill set. But it was good to see you kind of have to be stubborn about the running game. I asked Taylor this just being sure to ask you. So I'm asking no feel free. Yeah, I mean, it's just you go in each week and you're trying to you know the issues you may have. But there's certain things that we did this week is a definite challenge. And a lot of times you get into games and you know, your first four runs may not hit. And you've got to have the right mindset to make sure that you keep calling them and be smart about situation and the way things you have set up. But that's certainly you see that happen week after week after week. And again, it'd be based on our matchups and what we like. Nice job. Like you think he's adapted to a role and Michael's one of those guys he's he's a talented football player can do a lot of different things. And he's taken a role that that stock had for us last year in certain spots and he's done different things in stock has but proves embrace it. He just wants he's a good football player. He just wants to find a role and happy with what he's trying to carve out for himself. Are you more comfortable calling some of those things now than you were earlier in the year with them? It's about it's like the evolution of any season as guys grow into roles. I wouldn't say anything more from week one. It's just a lot of that depends on the game plan to whether we how we feel a week to week. What gives us an advantage that Davis and Brown I think both had their season after catches last week just happens dance or do you think there's any reason behind that or a lot of factors.  We obviously stayed on the field. You have more opportunities to do it. And just some of the things with where the Reeds took them the way the luckily found them and made some good plays and catch them run the right a nice job getting the ball into. I know there's a lot of factors that obviously going to this but how much of it was Ryan and how he played Sunday in terms of the improvement with those guys. And I get what you're asking there. But the and that's to be fair to everybody. It really does. And I hate to sit here and say cliche, but like we protect it well. Guys ran good routes. You know, our spacing was a little bit better, not perfect. But the way the game flow was his maybe decisiveness something that stuck out just in terms of everything kind of building from that.  And like I said, the entire offense did a nice job. And we're gonna have a challenge this week. So, you know, as soon as you get over Sunday, it's hard. How do we improve? What are going to be our issues this Sunday? And that's that's kind of where we're focused on the kind of deal that we're a quarterback change, maybe got everybody a little, I don't know, focused or a little, hey, we've got to work that much harder to get in sync with this guy or there's a lot of I mean, it's where you are in the season.  You got to get going. You don't want to fall back. And we know it's a long season, but you know, there's some holes you don't want to put yourself into. And so there was I think last week, it's a prep to the whole team. It was great urgency in all three phases.


In this video, we'll look at how to translate articles on Wikipedia from one language to another. You probably already know this, but Wikipedia is available in over 300 languages. English Wikipedia is the one we focus on at Wikimedia Australia, but there's also a French Wikipedia, a Japanese Wikipedia, and more. To see a list of all these Wikipedia's, just go to wikipedia.org and scroll down the page. Some pages will be on one Wikipedia and not the other, because each one has their own volunteers creating content. To see if an article is available in different languages, just go to that Wikipedia article, and on the right side you'll see this language button. Clicking that shows links to the article in all available languages. But what about translating one yourself? To do that, click on the person icon in the top right hand corner, and click Translations. This tool is available to anyone who has a Wikipedia account, has made at least 500 edits, and whose account is over 30 days old. If you don't quite meet the requirements yet, it's a good excuse to do some editing and get in some practice. Thankfully, I meet those requirements, and this is the page I see. It's already suggesting some translations I might like to make, and on the right hand side are some stats around the translations I've already done. At the top of the page, there's a notice which says machine translation has been disabled on English Wikipedia. This means you'll have to manually translate pages to English, and the process won't be automated. Let's have a look at what else is on this page. Starting on the right, if I click on the publish button, I can see the translations I've already done. There's a small graph showing how much of the original article was translated, and you can see the languages the originals were translated from. Clicking on the in progress button would show you a list of translations that you started that haven't been published yet. This is where your own drafts will be saved as you work on them. Then clicking on the suggestions button takes us back to a list of suggestions. Currently, it's suggesting articles in German that are on the German Wikipedia, but not on the English Wikipedia. You can change the language by clicking on Deutsch, or whatever language is being suggested to you, and selecting the language you want. I'll try French. Now the suggestions are for French articles that are on the French Wikipedia, but not on English Wikipedia. The suggestions are based on your previous translations. I translated a music related article from German to English, so all of my German recommendations are for music topics. I also translated an artist's article from French to English, and so my French recommendations are all for the arts. If none of these take your interest, you can click on the new translation button and search for an article or page you want to translate. This only works if you know the specific article name you want, and it will bring up articles that are already on English Wikipedia, but thankfully it will warn you if you select something that already exists on your language's Wikipedia. So let's say I want to translate this article. I just click the article, click start translation, and I get this page. On one side is the article in its original language, and then on the other is where I can begin my translation. Clicking the plus icon will start the translation by pasting the original text. You can then edit and translate it. Translations can be a fun way to practice your language skills, but don't feel the need to stick too closely to the original article. If you have your own references, you can write an article using your own words and just keep the original article as a guide. Just be aware that not every Wikipedia is the same. You might get error messages that references haven't been translated because there's a different template in use, and there might be a different style of how to structure an article on some Wikipedia's that is different from English Wikipedia. Because of this, often you have to manually re-add all of the references, and you may need to add some more so the article meets English Wikipedia's Notability Guidelines. If you need help, on the right-hand side of the page is a link for translation guidelines with more information on how to translate. Sometimes, I might start a translation and then realize it needs so much more work than I can possibly find time for, so I decide to stop. As mentioned, you can go back to your translations in progress at any time in the in progress area. But if you have changed your mind, you can also press the rubbish bin icon and this will discard the translation. It won't delete the original article or affect it in any way. It will just remove your work in progress draft.


Beautiful. Now, one and all, we've got a cool show for you today. Cool as in cool roofs and cool. Here in Hawaii, we're interested in terms of comfort in the interior, only in keeping the heat out. If it gets too cold on a winter morning, we'd put on fuzzy slippers. We walk on rugs. We put an extra blanket on the bed. So it's strictly heat mitigation that we are interested in. And when you think about all the ways to keep the heat out of a home or a building, when you really think about it, probably the most cost effective and resource efficient method of doing that is by having cool walls. Those are walls that accept the radiant heat, the sun's energy, and bounce it back to the atmosphere. And there's something called high emittance where the heat that does get into that coating emits, also emits back to the atmosphere. And we apply that both to walls and roofs. So who better to talk about this than the government affairs coordinator and manager extraordinaire of the Cool Roof Rating Council and the Cool Wall Rating Council. Oh, and before I turn it over to Audrey Begarro, let me say that this morning in the Energy Office, we had a talk with SIA, the Southeast Efficiency Alliance. And Hawaii is now an integral part of that, even though we're way off to the West. And I introduced the fact that we have in common with those hot humid states there, the fact that cool walls, cool roofs are integral to keeping the heat out naturally, and they welcome the idea very much. So, Audrey, we have yet another ally on the team. So on that very cheery note, let's turn it over to Ms. Cool Roof Cool Wall herself, Audrey Begarro. Take it away, Audrey. Thanks, Howard. Well, that's wonderful news. Yeah, just to introduce myself, I'm the project manager of the Cool Roof Rating Council. We are a 501C3 nonprofit organization based in the United States. Our primary role is providing third-party product ratings for roofing exterior wall products related to their radiative properties, which Howard described as their solar reflectance and thermal elements, which helps keep buildings out, sorry, keeps heat out of buildings. So if you want to go ahead and pull up the first slide, the second slide, actually, before we begin, just wanted to outline a little bit, you know, Howard mentioned that, obviously, heat is the primary concern in Hawaii. You don't have to deal too much with cold weather. But just to kind of put this topic of heat into perspective, heat is the leading weather-related cause of human mortality across the United States, and it is responsible for more deaths than things like hurricanes, tornadoes, blizzards, etc. And he can be really dangerous because it can also exacerbate existing health conditions. So a lot of times it's actually tricky to really understand the full impact that heat is having on people's health and on mortality because it can be conflated with other things, especially during extreme heat events. Also, of course, people living without air conditioning can be more susceptible to the dangers of extreme heat. Heat is exacerbated by what's called the urban heat island or UHI effect. This is something that occurs when urban areas like Honolulu are hotter than their surrounding suburban or rural areas. To provide a couple examples, more than eight out of 10 Americans live in urban areas, and 41 million of those Americans live in areas that are at least eight degrees Fahrenheit higher than their surroundings. If you think about eight degrees Fahrenheit, that is a huge difference when it comes to comfort and safety and the many negative impacts of heat. Next slide. All right, Audrey, let me interject and say that I am blessed to live in Manoa Valley, very green lush area. When I go down just three miles to the flat lands where the urban area is, the temperature increases in just three miles. In the flat lands, it's say 84 degrees in Manoa, 76 degrees. Very, very dramatic. We have microclimates here in Hawaii because of our mountains. That's a great segue into, I wanted to talk a little bit about what is causing this difference in heat. Howard, you mentioned the mountains and the sort of bigger geographic things that can affect it. On a more micro scale, we also have a lot of reasons why a city can be hotter than its surroundings. Number one, a high concentration of dark and impervious surfaces. Things like roofs, walls, roads, parking lots, pretty much any of your conventional building materials tend to be dark. They tend to be impervious water and they absorb and retain a lot of heat that ends up getting trapped in urban environments. Of course, there's also a relative lack of trees and green space. Trees and plants naturally cool the air when they're around in greater quantities, but we experience a lack of that natural cooling when there are less trees and plants built into the urban landscape. Also, something called urban canyons, which are tall buildings that link sidewalks and streets. These trap air and slow air movement, which tends to keep it both hotter and lower air quality because pollutants that are getting trapped there aren't making their way out of the city as easily. Finally, things like other sources of heat besides the sun, think air conditioners, exhaust from vehicles, is just pumping more heat in that's getting trapped and making cities hotter than their surroundings. This urban heat has many negative impacts. I already talked about heat illness and death, but there's also a lot of other impacts that people might not always think about. It's been found that higher temperatures actually contribute to reduced productivity at school and at work, and they've also been linked to greater work-related accidents, possibly because people are less focused or more heat stressed on the job. Things like damage to key infrastructure like power grids and water supplies, as well as lower air quality, like I mentioned earlier, which is due to a couple factors. One, because hotter air actually moves slower, and then also because warmer environments are a breeding ground for ground level ozone, which is a pollutant that can be harmful to your respiratory system and is also an ingredient in smog. Lastly, I do want to point out that these impacts of urban heat disproportionately affect certain groups and certain areas of cities. Links have been found between higher urban temperatures and areas where lower income people live and where people of color live. This is also a bit of an environmental justice issue as well. If we move along to the next couple of slides, I'm going to introduce again this topic of cool roofs and walls. Howard, I don't know if you have anything to add before we move on. No, I'll fill in as you go. Cool roofs and cool walls are ones that highly reflect solar energy and efficiently emit heat that is absorbed. Those two properties, the first one is called solar reflectance, which is the proportion of solar energy that is reflected by the surface. This property is measured on a scale from zero to one with one being 100% reflected. So that would mean the surface is reflecting 100% of solar energy that's hitting it. Likewise, thermal emittance is also measured on a scale of zero to one with one being the most thermally emissive. Basically, when you have higher values of SR and TE, what you're going to see is the surface thing cooler and transferring less solar energy as heat into the building, which keeps indoor temperatures cooler as well. On screen here is an example of that phenomenon. Here we're looking at a dark wall and a light wall. It's not really necessarily a black and white issue. We're going to talk about that more later about other color technologies that are out there. But for the purpose of providing an example, you can see that the dark blackish wall in the sun is nearly 50 degrees Fahrenheit hotter than the lighter white colored wall. Both of those photos were taken at the same time under the same conditions. So just a quick illustration of that difference in surface temperature just based on color alone. So moving this along into discussions of saving on cooling, saving energy when you're talking about air conditioning. Cool exterior walls in particular are the focus of this presentation. I do want to mention that pretty much everything I'm saying about walls can also be applied to roofs and in a slightly greater magnitude, roofs do have more of an impact on a building solar heat gain than walls do due to the orientation, the way that roofs are interacting with solar radiation as opposed to walls. But for walls in particular, studies have shown that in U.S. climate zones one through four, of which Hawaii is located in climate zone one, cool walls can provide HVAC energy savings annually. So what we see in some northern climates of the United States is that there's something called the winter heating penalty where just as a cool surface will help you lower your energy bills in the summer, you could see an increase in heating costs in the winter in northern climates. For Hawaii, obviously that is not of high concern. So you're really just going to see savings on energy and more comfortable temperatures throughout the year. Audrey, let me interrupt with a very, very interesting story. I was at a energy codes conference in St. Paul, Minnesota some years ago and we were touring a nursing facility, brand new, built to the highest, highest efficiency standards, and we got up to the roof and the roof was black. I said, what the heck is going on here? Oh, no, no, no, no, no, no, take that back. The roof was white. And I said, what the heck is going on here? And the building manager said, what do you mean? And I said, this is St. Paul, Minnesota. You have severe winters. Don't you want to coat the roof black so that you can absorb the winter sun, melt the snow easier, and save a lot on your heating energy? And he said, no, we are so efficient in this building that heating is a very, very low cost component. And also, we've found that even here, the air conditioning cost is greater than the heating costs. And therefore, we're keeping this surface white so we can reflect the heat back up St. Paul, Minnesota. So that's really interesting little tidbit there. Yeah. And I imagine if snow is covering the roof most of the winter, anyway, you wouldn't really be getting a lot of benefit from that black roof anyway. I wanted to talk a little bit more. I had mentioned earlier that cool roofs and walls aren't a black and white issue. So I wanted to kind of expand on that a little bit.  That is certainly a very common and a very effective way to achieve a high solar reflectance, right? So white off white pastel colors are all going to naturally be reflecting a lot of solar radiation, which is fantastic. That being said, a lot of times people are looking for darker or different colors that conventionally might not have a very high solar reflectance. And that is where products that are specifically formulated to reflect infrared radiation come into play. These go by a few different names. The example on screen they're referred to as spectrally selective. They're also called infrared reflecting or IR pigments. But the technology is all the same idea, which is that we have pigments that are specially formulated to reflect invisible infrared light. So they're staying cooler in the sun, but they are still reflecting visible light in whatever amount is desired for the particular color that you're trying to achieve. So these products are available on the market for various types of both roofing and wall materials. We see them for decades. They've been used in the coated metal industry. So a metal roof, metal wall panels, things of that nature are available using these spectrally selective pigments. Looking at residential roofs, there are asphalt shingles that have solar reflective granules. Same idea. Also paints and coatings that are formulated with similar technologies. So that's really a great way. And we want to make sure people are educated about that fact is that when we're talking about cool roofs and walls, we're talking about all of it, right? We're talking about anything that is going to be increasing that solar reflectance in order to stay cool. So I wanted to transition into talking a little bit about incentives and codes and programs and how all of that relates to this idea of cool exterior walls. Again, cool roofs have been pretty prolific in certain climates for a while now. So they are much more established in codes, programs and standards. So I want to talk a little bit about cool walls and how those fit in. The state of Hawaii is actually the first and only United state of the United States to include cool exterior walls in their building energy code. So as you know, the Hawaii Building Energy Code is based on the 2018 IECC with state adopted amendments. And part of these amendments are an installation trade-off and compliance credit for the installation of exterior walls with a visible light reflectance of 0.64 or higher. And that is for newly constructed tropical homes. I believe that this requirement is in the process of being updated. Howard, I don't know if you want to elaborate. When we first adopted the IECC codes, the mainland requirement was for when you re-roofed a flat roof and it was uninsulated, you had to put insulation either on top of the roof deck or below the roof deck. And the roofing association of Hawaii came and visited me personally and said, Howard, this is going to double the cost in re-roofing. If you try to amend like this, we're going to go to legislature and we're going to fight this tooth and nail. Oh, okay. So we amended that by saying you shall have an energy star level of reflectance on this new roof in lieu of the insulation. And that worked for a while, but then came Girl California Title 24. And they have a higher level of initial reflectance, there's initial reflectance, three-year reflectance, and emittance. All of that was higher. And the roofing council agreed that we would update those levels so that the reflectance is even greater for re-roofing of flat roofs. So that was another improvement we made. And of course that reduces the heat transmittance even more. I want to also call out that there are several model codes and standards that have cool exterior walls written into them. Those examples are on the slide here, but I want to specifically mention ASHRAE standard 90.1. ASHRAE standard 90.1 has a pool wall requirement for climate zones zero. So that doesn't actually apply anywhere in the United States, including Hawaii, but they also, the standard also includes a small compliance credit for climate zones one and above. So of course that includes climates throughout the U.S. And for that, compliance credit, newly constructed buildings that use exterior wall materials with a solar reflectance greater than .25 can earn the compliance credit. And moving on to green building certifications, the LEED rating system also offers credit for cool exterior walls. This is a pilot credit that came out a few years ago. And in order to earn the credit, you have to surface your building at least 60% of the building's gross exterior wall area with a material that has an unweathered solar reflectance of at least .6 and an initial thermal emittance of at least .75. Furthermore, the ANSI GBI01 standard, which is the basis for the Green Globes certification program, also contains a cool exterior wall requirement for climate zones other than .6 and .8. So moving on, talking about compliance here in Hawaii and earning these voluntary green building certifications that I just mentioned, more and more people are turning to third-party verified data. So data that is provided by an entity other than just a manufacturer of a product. So that's really where the CRRC comes in. We are a third-party entity. We work with independent laboratories, accredited independent laboratories to perform testing for products that obtain a CRRC rating. These products are also weathered, exposed to the natural environment for three years at approved test farms that are also vetted and approved by the CRRC. And all of this data is available for free publicly on our directory at coolroofs.org slash directory. We maintain separate directories for both roofing products and exterior wall products. So I would encourage if anyone is interested in the idea of cool roofs and walls or working on a project that's using them, the CRRC directories are a fantastic resource for finding that third-party data. Moving on to slide 14, we also have several other resources available on our website. Specifically, I want to call out our codes, programs, and standards database. The screenshots on screen are actually a little bit out of date because we just recently totally revamped that webpage. There's a lot more detail now on that site about the actual summary of the requirements of these different codes and standards per jurisdiction. So you can get on there and see what are the rules for cool roofs in Honolulu and not information, easy access on our website. And then we also have links to the actual code language, which it is very important to always check because codes get updated. But that's a really great repository if you're interested in learning more about requirements in your specific area. Finally, on the last slide here, we also have a lot of educational resources on our website. This spans from one to two to three page PDFs, all about different topics. If you're interested in learning more about the urban heat island effect or about heat equity, we have a new document that came out last summer specific to using cool roofs and walls kind of through that heat equity lens. Lots of documents that go into more detail about the technical nature of our programs and all that good stuff. So that's about all I have prepared, Howard. Do you have any questions or want me to go into any more detail? I'll give you a quiz. I ECC energy codes, flat commercial rules. Does the I ECC have anything to say about reflectance? That's a quiz for you. I actually don't know. I am not the codes expert on our team, but I'd like for you to fill us in. This is something I used to sit on the National Committees and something I and some other people bought hard for and won. Flat commercial rules, new construction must conform to the energy star levels of reflectance and that starts at 0.65 reflectance for climate zones 1, 2, 3. We're in climate zone 1 in Hawaii, 2 is the southern southern most states and in climate zone 3 gets up into about the the middle of the Dixie states across Texas and so forth. So we have cool rules embedded and I ECC is the most used on that national standard. And I will say that the most, oh, I've done a lot of temperature measurement myself. Shooting a dark wall, it's getting direct solar radiation over here and then there's a white surface right over here and I traditionally have gotten on a hot afternoon temperature difference of easy 50 degrees and I saw and added in the paper some years ago there was a picture of a fellow up on a roof rolling down very, very high reflectance coating and this was on a school roof and very rough asphalt and he was just going over that rough dark asphalt and the temperature before with the dark surface was 178 the temperature after 104 a drop of 74 degrees and these schools are not for the most part air conditioned and what a temperature difference for interior that would make and a little side note, we had a heat wave some years ago and kids in schools, unconditioned schools were literally sweating onto their paper. Very, very poor working environment actually could be a health hazard and everybody was saying AC AC AC and people like me pointed out put AC into a hot environment like that. It's like putting an ice cube into an oven. So we've been pretty successful in requiring reflective rules on school rules when a new job on the roof is needed and oh when you reduce the AC use as you would because your interior temperature isn't naturally much cooler when you reduce the AC and you're getting that AC the electricity from either coal gas or oil in our case when you reduce that level of fuel use you're reducing the amount of CO2 put into the atmosphere and CO2 carbon dioxide is the main particulate matter that's holding the heat in and is responsible for climate change. So any final quick party notes on that cherry note Audrey? Well I think you make an excellent point and that's the beauty of cool surfaces is you know they have impacts at the very local level and all the way up to helping to reduce carbon emissions. So yeah thank you so much for having me it was it was great to be able to talk. Thank you so much Audrey and we'll be seeing you well before too awfully long. So on that very cherry note we bid fond of you Howard Wing, Code Green, Think Tech, Hawaii. See you next time. If you liked this show why don't you give us a like or subscribe to our channel. Thanks so much.


Take the brush and touch it to the areas you've applied your color. Watch what happens. You get streaking rust. Fantastic effect. Very subtle, but very intense at the same time. That's why it's important to use small amounts of this. You want to really soak the area with the turp. Get that to dissipate. You want too many overly intense spots of color.