What's going on? This is Giovanni from the Options Trading Channel here with a new video with some awesome news. Are options expired worthless? Yes, that's the first time I've ever been excited and happy that my options expired worthless. Basically, we're sellers of options and we want the contracts to expire worthless down to nothing. In the past week, week and a half, we're up $2,175 and again, I just couldn't be prouder of that. These positions are probably the easiest positions that I have ever traded. Although they are the most riskiest trades I have ever taken, these are the easiest trades to take. I know that sounds really weird, but I wanted to make this video here today just to show you. Amazon, Boba and Tesla, the positions that we're holding onto, those expired worthless, the 3,000 puts, it's showing 3 cents, but they're down to nothing. 3,700 calls on Amazon. Boba, the 3,25 calls and on Tesla the 2,700 calls. We're going to see what happens next week. We're hoping to get into some other trades next week on Monday, maybe on Tuesday. We shall see. We're not trying to hit any home runs here, we're just trying to hit a couple of singles and make weekly income. Weekly income, selling naked options. Again, really happy. Oil, this oil futures contract, we've been holding onto it for quite some time. Today, it's down $90, not a whole lot. Overall, we're up on this one contract, $1920. You can see here on the profit loss open, how much we made on these particular positions. Of course, that's not everything that we've traded. To see a whole list of the positions that we were in, you can look back at the previous two videos and you can get a good idea of what we traded. So that's pretty much it. I just wanted to make this video to give you an update on our naked options portfolio here. We live to see another week. One last thing, comment down below if you want to see any particular videos or content. If you want me to further explain what naked options are or options in general, I would greatly appreciate your feedback. I hope you have an awesome weekend. I know I will. I do have my son for the weekend. Really happy about that. If you haven't already, hit that subscribe button down below. Like and share my videos. Also, hit that bell notification to get notified the moment that I upload a video. See you guys here on the very next trading video, hoping it's a green train.


Sagebrush its distinctive scent permeates Wyoming's air and its foliage provides the distinctive grayish hue to many of our landscapes Basin big sagebrush is the biggest species in the cowboy state Almost two-thirds of Wyoming is populated by sage. It is the naturally dominant or climax species on much of that ground Sagebrush prospers where there is winter snow and it helps perpetuate itself by intercepting blowing snow creating many drifts and using the water when they melt Most sagebrushes need to waste high but the basin big sagebrush subspecies can grow to nearly tree-like stature in ravines or other favorable places Sagebrush is an essential food and habitat requirement for deer, antelope, sage grouse and many other wildlife species especially in winter. You can imagine how this would create superb winter cover Love it or hate it sagebrush is the quintessential Wyoming plant From the University of Wyoming Cooperative Extension Service. I'm Barton Stamm exploring the nature of Wyoming


Live from Las Vegas, it's theCUBE, covering Discover 2016 Las Vegas, brought to you by Hewlett Packard Enterprise. Now, here's your host, Dave Vellante. Welcome back to Vegas, everybody. This is day three of our coverage of HPE Discover 2016. This is our sixth year covering HP, now HPE. We've been documenting the evolution, the transition, the acceleration now of HP's business. Vish Malshan is back. He runs product management for HP Storage and Mohit Batnagar is here. He's the vice president of products at Cluster HQ. Gentlemen, welcome to theCUBE. Thanks, Dave. So tell us about Cluster HQ, relatively new company. He's got some financing earlier this year on top of some earlier financing. So you guys are hitting your stride now. What's going on with the company? Yeah, so we are a startup. We are very passionate about delivering a whole vision of containers to enterprises. As we know that containers have been the sole of what, how Google delivers their technology. What most people don't realize that every time we are using our Gmail or doing some kind of search, Google is firing up containers. In fact, one of the releases came two billion containers per week. But what we are saying is that same vision can be brought into enterprises. And that's what we are passionate about. Cluster HQ, we are funded, well-funded. We are building, I think, one of the world's best team, which understands the old stack. You know, the VMware, HP, and the old thing, as well as the new stack. The DevOps, microservices, public cloud, hybrid cloud infrastructure. So that's what we are doing. And our focus is on data management part of it. The number of problems in containers that needs to be addressed. And we are saying, you know what, let's solve the data management problem. Okay, and then Vishu, you and I have talked about containers. Of course, containers have been around for a long time. Anybody who studied Linux, the containers were there, and all of a sudden there's resurgence. So what's your angle? Why does 3PAR, HP Storage Care? So Dave, I think you're seeing an emergence of what we call this new application paradigm, right? And we're hearing that as customers develop these new applications, they're looking for hyperscale, they're looking for cost advantages, they're looking for latency and performance advantages. And so this is a new method for developing those applications. Yet we also hear that persistence of storage is a key element, especially as you develop containers in one environment and want to maybe deploy it in a secure, encrypted environment, or you may want to deploy it on our flash environment. And so it's more indicated, right? I mean, like we had very close integration when we had the era of server virtualization, this new era of containers in the x86 space, I think brings open another new opportunity, new frontier for us to go look at. So Mohit, talk about the problem you guys are solving because of course we understood well the server issue and virtualization helped solve that and we sort of tried to push that into applications. Didn't, wasn't really the perfect fit, but talk about the problem that you guys are solving. Yeah, so let's talk about real quickly why containers because if you understand that, then I think we can talk about the problems that we need to solve. So most of us live, it started our life at one point or other, we deployed things which were bare metal. VM technology allows us to get much higher efficiency, et cetera. Continuous in that sense takes it one step further. Essentially what's happening unlike a virtual machine which requires a host operating system, it's kind of a lot of lips, et cetera, get loaded. Containers has shared operating system, so it becomes much lighter weight. But what does it mean? It means that you have now much higher density, so you can get container density which could be 10 times higher than that of a virtual machine density. Secondly, because the lightweight, you can spin up very fast, which means when you want to spin up a large number of compute resources, you can spin up containers. Well, one of the problems that happened with containers were if you have workloads which are stateless, where something is done and a call is made outside the container and the state is not critical, you know what container dies, it dies. Well, we looked at it and we say, wait a second, you're looking at solving a global problem, you want to go and build a unified cloud infrastructure. Why don't we actually enable state persistence into containers? And that's where cluster HQ came. In DockerCon last year, we made a contribution with a concept of volume plug-in came. And since then, we have done a number of things where, for example, using HP three-par systems, we can take all the goodness of HP three-par, high performance, all flash, reliability, disaster recovery, stability, SSD level encryption. And on top of that, we can enable any kind of container-based workload, which means whether it is Oracle SQL or the new generation database services, such as MongoDB or Radeus or Elasticsearch or Cassandra, across the board, we can deploy these stateful containers. The beauty of this is that organizations now can make an investment, which is whether it is a bare metal deployments or container deployments or virtual machine deployments, and using technology, which is a combination of our product Flocker, which is a volume manager, which works with HPE's product. Organizations can adopt the container-based workloads. So how did the relationship come about this partnership, Vish? I mean, we see Docker on stage this week, several years after Docker comes to the prom, and it's okay, that makes sense, right? They've proven themselves, and now, okay, we're going to put them to the HPE Distribution channel. This is different. You guys are early on in the game. Why? What did you see? I'll tell you, Flocker has announced the availability of joint solutions actually six months ago, right? And through the marriage of OpenStack, Cinder Drivers, and Flocker, we were able to bring that sort of class of persistence to the environment. So I think we found a common intersection. Moe was indicating to me that as these customers were developing, they got stuck in trying to get into production, especially as they're moving into IT, and you have three power on the floor, you have store virtual on the floor, for example. And so we found that was an intersection point here that we could participate together. So Moe, why three power? Why did you guys focus on three power? So, look, this space is going to have heterogeneity. So it's inevitable. And I think there are going to be other systems. People might use AWS or something. But when we look at it, what are the problems enterprise customers are going to solve? Containers is an interesting part of the equation. So obviously from a DevOps, microservices architecture point of view, almost every Fortune 1000 company is going to adopt containers. But that doesn't mitigate all the other requirements they have. They still need, as I said, HA disaster recovery, encryption, reliability, backup, and all of those things. So we looked at it and we say, who are the companies that actually understands that? So that was one part of it. The second part of it that enterprise, as Meg talked about, is that they're going to solve these problems across the stack. So the hybrid cloud is a reality, right? So we said, which are the organization which actually are going to deliver and solution that will solve those problems. So for us, three part became a very good choice. And frankly, I'm a storage guy myself. So when I look at it and I say, which is a system that has a range of capabilities. Yeah, there are other choices, but I think three part is a fantastic track record. And I think it is something which could become a dominant technology in this space. So that was our motivation. Well, storage business is changing pretty dramatically. I mean, you guys have both been in the business for a while. It used to be, okay, I buy EMC for block and I buy NetApp for file. Next question, right? That's changed pretty significantly, hasn't it? I mean, you're seeing the emergence of Flash clearly as one that's still pretty much in the system-defined space. You're seeing the emergence of software-defined storage as well, right? And then you're also seeing the marriage of both, right? Because I don't think it's in either or. And I think there are spaces where customers are going to say, look, I have mission-critical mainstream applications that want to develop one way. I have cloud-native applications that want to develop another way and deploy another way perhaps, right? And then you're going to see maybe some bridging between the two, right? As they deploy and they have specific requirements. And as Mohit pointed out, right? If you look at the three legs that we always talked about, Dave, the performance, affordability, enterprise-class data services, you know, I view this flocker, docker integration as part of that enterprise data services, right? Because there's a big intersection with reliability, whether it's replication, priority optimization. If you want to apply QoS-type rules, those are the kinds of things that they shouldn't have to go reinvent again, right? And if you draw a parallel, VMware, when they did their replications, they built this model with side recovery manager and side recovery adapters, right? And I think they very intelligently leveraged the ecosystem for replication. So I think it's a similar model here, right? And there's a Gestalt going on. I mean, Benioff got it right when he said that there can be more SaaS companies outside of the technology than there are inside of the technology business. And so everybody's becoming a software company. It's all about building platforms, APIs, agility, so the DevOps thing is taking off. Spot on. Spot on. So let me give you a real-life example. We have a customer. These guys, about a year and a half back, used to do application development, deploy maybe once in four months, model of the application. You'll say that's pretty good. Well, it started going to microservices architecture, broke down the entire model of the application, started doing deployment once a week, 10 deployments per week, currently 40, 45 deployments per week with a goal of 100 deployments per week. Now, this is a company. This is not a Fortune 10 company which had through all kinds of resources. This is a startup. Now, what this is giving them is that their DevOps guys are able to go, their developers are able to come up with ideas, implement fast. Now, if I'm to talk to the CIO, that company, he want to abstract away the entire infrastructure from the developers guys. And that's where the fact that they can take a three-part kind of system and say I give the enterprise class reliability. I deploy a container-centric workload which gives me the fast performance and density. And by the way, if I do an application development which is in public cloud and then eventually I need to bring it to on-premise, I can also do that. So I think these flexibility are, a lot of these are driven by forces which are application development accelerated cycle, the need for cloud-based instances. And that's where I think the combination of what new stack like ours is doing with the capabilities like three-part becomes very attractive. Well, the other major thing about developer productivity that I'd love to get your guys' thoughts on is data access and data sharing. Being able to, let's say through flash, be able to share copies of data that are current instead of so N minus one, we've all been through it. You're looking at a development project, oh jeez, I wish I could see that with some more current data. If similar, okay. How is that affecting and changing the developer mindset and the productivity? One answer. Yeah, sure, let me start there first and then I know more, you've got some perspectives there as well. So clearly, making sure that you can replicate as close as possible to the production environment with production type data is, I think it's a big requirement for development, right? I think that often struggle with, they can really never replicate the production environment or it's not a cost effective to replicate the production environment. And so, flash changes some of that because now, again, you have enough performance headroom, you have software capabilities to make copies effectively and then you can put priority controls around that to ensure that if I'm developing on a production system that I don't ever impact the production performance level, right? So God will. So I think, married now with maybe some of the concept that Moira is going to talk about with data, I think that's an interesting intersection here with DevOps, right? So we are super excited about the fact that while data has gravity, data can also have a temporal aspect to it. So the notion of snapshots in the past was a linear snapshots were taken. They were typically taken for disaster recovery kind of reason. Well, imagine, just like you have a GitHub for code, what do you have Git for data? What if along with the code, I can capture the state of data? I can give you a full graph of it. People can go, they can look at a particular snapshot. They can clone it. They can create a branch on it. They can merge that branch into something else. They can, if you can do that, suddenly it creates an architecture where microservices are no longer doing development in isolation of each other. They can almost have a Git for data, which is a common repository of data where things can be pushed and pulled. So that's a concept which we feel could be very powerful vision and we are working towards it. The beauty is what you said earlier because of efficiency of snapshotting, because of flash that it does not have the impact on it. You can actually truly create these copies and then you combine this temporal aspect of snapshotting with the spatial aspect of snapshot. I can move them across the clouds. If I can do that, suddenly we have taken care of the data movement in a very efficient manner as well, across time as well as space. I love this Git for data sort of metaphor because then there's a monetization model behind it where you're selling tooling on top of that. Right, absolutely. Beautiful. All right, we have to leave it there. I'll give you guys each a sort of last word. What's your takeaways from Discover 2016? Look, I've been in the industry 20 years. This is one of the best shows. I, congratulations to HPE team. I think they've done it. I can feel energy around it. What I also like is that instead of just saying, here is a product, here is a product, HPE is stepping up and saying, look, we solved your problem in a holistic manner. So we are super excited about this partnership. My message to our customers and HPE's customers is that the bold containers is a new territory, but those of us who have been in the industry for a long time, we take this stuff seriously. We are delivering enterprise-class solutions. So come along with us and we'll be with you during the journey. Great, and Vish, you came over from 3par. Very exciting company. When I got back into the business a while back, somebody said, look at 3par, they're the next big thing. This was quite some time ago. Brought that to HPE, transformed that architecture to an all-flash array without having to buy another company. That's got to feel really good. So tremendous success, growth, you're now number one, at least for a little while, until that merger goes through. Unless you're going to buy NetApp, I joked, but that's not going to happen. Just kidding, okay, it won't happen. Don't write that. So give us, give us a feeling good, spring in the step, give us the drop the mic quote, what's happening as you exit HPE Discover 16? So Dave, I think staying focused on customers, staying focused on innovation, and making sure that we can deliver a value proposition, making a difference. That's what we stand for, right? And I think we want to continue to ensure that we can make that difference for our customers. All right, well theCUBE, hopefully making a difference in bringing you all the signal at HPE Discover 2016. Keep right there, everybody will be back with our next guest. Thanks, you guys appreciate it. Thank you very much. Good.


So, we look at practice problem in energy balance in this lecture. Let me first describe the problem to you, so that we understand what the situation is. We have here a stirred tank and it has a cooling coil. The reaction A going to B and it is quite reversible, so this is the kind of reaction taking place. Feed V naught and then composition C A naught coolant temperature T c then feed temperature T naught. These are some data that is given is as follows C A naught equal to 1.66 k mole per cubic meter T naught is 21 c V naught 0.6 cubic meter per hour. Activation energy for reaction 1 this is 1 and this is 2 is 25 thousand k cal per k mole. Coolant temperature T c is 10 c and heat transfer coefficient this is between coolant and reactance that is 1000 k cal per square meter per hour c. So, this is the data that we have. Now, some more data we would require because the reaction is reversible therefore, we need some equilibrium data which is also available which I will. So, we have T k 1 and capital K equilibrium constant 293, 303, 315, 323, 1.06, 4.37, 21.357, 57.2, 21.6, 6.96, 1.97, 0.89. So, this data on reaction velocity constant and equilibrium constant are given.  Now, that we this is where is heat of reaction heat of reaction I have forgotten and just heat of reaction this delta H heat of reaction is minus 20,000 a going to be this is for a going to be heat of reaction calories k cal per k mole. So, this is a reversible reaction and plus it is exothermic. So, we know that if you have a reversible reaction which is exothermic it has some interesting features showing that it as a maximum reaction rate and so on which we have already you know discussed. So, let us look at first part of the exercises one is derive locus of max rates. What is the locus of max rates? How do you do this? So, suppose I say r b is the rate of formation this is our reaction is a going to be a goes to be and this way this one and this is 2. So, r b is what k 1 c a minus k 2 c b. Now, since there is no volume change I write this is c a naught times 1 minus of x minus k 2 c b naught plus c a naught x and we take this as 0. So, essentially is k 1 c a 0 minus of x k 2 c a 0 x. Now, locus of maximum rate is understood like this del x del r b del x at constant t this is what we want to find out. That means del r del x at constant t. So, del r del r del t at constant sorry sorry this is or we want to know how the rate of formation of component b changes with temperature. Let us let us do that we just go through that very elementary manipulations. So, we have r b equal to k 1 c a 0 times 1 minus of x minus of k 2 c a 0 x we want to find out del r b del t at constant x. So, we have to differentiate k 1 with respect to t that is k 1 e 1 by r t square at constant x. Therefore, we do not change this similarly, we differentiate k 2 with respect to temperature we get k 2 e 2 divided by r t square c a 0 times x. Now, we have shown that an exothermic reversible reaction r b goes through a maxima we have shown that earlier. And therefore, at the point of maxima we should have this I will call this x as x m. So, 1 minus of x m divided by 1 minus of x m multiplied by k 1 e 1 by r t square c a 0 equal to k 2 e 2 by r t square c a 0 times x m or x m divided by 1 minus of x m equal to x m divided by x is equal to k 1 by k 2 e 1 by e 2 or some equilibrium constant times e 1 by e 2. This is something that we all know based on the elementary principles of differentiation. Now, suppose you look at the same reaction at equilibrium same reaction at equilibrium which is you have r b equal to k 1 c a 0 1 minus of x minus of k 2 c a 0 times x at equilibrium you have at equilibrium equilibrium we have r b equal to 0. Therefore, we should have k 1 c a 0 1 minus of x e equal to k 2 c a 0 x e or x e divided by 1 minus of x e equal to k 1 divided by k 2 or also means x e equal to if I call this as k you know equal to k x e equal to k by k plus 1. At equilibrium we have the equilibrium conversions given by k by k plus 1. Now, we also said that x m by 1 minus of x is equal to therefore, this also means x m equal to if I call this term as delta if I call this as delta this becomes that means this is delta. So, becomes k delta divided by k delta plus 1 is that clear. So, if we want to make a plot of if you want to make a plot of what happens what happens to x what happens to x for different t. On other words x e equal to k by k plus 1 or it is also equal to 1 by 1 by 1 plus k. Now, for a reaction which is exothermic for an exothermic reaction we know that k decreases as t increases we know that this is a familiar leach act as principle. Therefore, we have as k decreases as t increases. So, when k decreases what happens to this denominator this increases correct. So, as t increases you know that x keeps on decreasing. Therefore, the equilibrium if this is the equilibrium line I hope you understand this it will go through this once again as t increases k decreases for an exothermic reaction we are talking about exothermic reaction exothermic reactions for exothermic reactions as t increases k increases. When k sorry as t increases k decreases therefore, this quantity keeps on increasing. So, 1 plus the denominator keeps on increasing. Therefore, x e keeps on decreasing as t increases that is what I have drawn. Similarly, you have this x m which is given by k delta divided by 1 plus k delta. And this also can be written as 1 by 1 plus 1 by k delta. Therefore, the behavior of x m also will look something like this this is x m what is x m x m by definition is the locus this is the locus of locus of max rates. And what max are we talking about del r b by del t at constant x. So, this is this is the locus we are talking about. Therefore, in our design by and large we would be interested in ensuring that the reaction rates that we attain in the equipment is as high as possible. What is the rational for this I mean if the reaction rates are very large then clearly the equipment that is required to do that processing would be the smallest. And therefore, it sort of makes sense to have your process operating at the highest reaction rate. So, what we are saying now is that this is the first part of the question which says the question let me state the question once again question is this we call the first page where we did all this. We said that we have here we want this x say specify best conditions required to get a conversion of x equal to 0.52. So, the problem that we would like to address now is what are the best conditions that is required to get an outlet conversion x from reactor 1 equal to 0.52. So, this is the question now how do we address this we address this by recognizing. So, let us just state that question once again we have we have a stirred tank we have a coil this is a coil coming in and going out fluids coming in fluid is going out. So, we want this x to be 0.52 number 1 number 2 we also want that the reaction rates chosen here be the highest or the size of the equipment for this choice should be the smallest. That means, we want to get the highest reaction rate or the optimum conditions optimum conditions to achieve x equal to 0.52. Now, we said x m divided by 1 minus of x m equal to 1 by 1 plus k delta. That means, the choice of the conditions should be such that the this condition be satisfied. Now, if I put x m as 0.52 by 1 minus of 0.4 0.52 equal to 1 by 1 plus 1 by k delta essentially this equation defines what should be the value of k capital K or equilibrium constant at which I should operate the process. Now, you can solve this and then find the value of capital K that gives you the that satisfies this inequality. Now, to be able to do that to be able to do that what is it that we require to be able to do that delta the way we have defined delta is even by e 2 which means that if this is the reactance these are reactance these are products. Now, this is given as heat of reaction heat of reaction is given as how much is the heat of reaction heat of reaction is given as 20,000. So, this is 20,000 or 20,000 calories sorry 20,000 calories per mole it is given. What is this? This is e 1 and this is this is e 2. Therefore, e 1 minus of e 2 equal to delta h this is given as this is equal to 20,000 this is what is given I am sorry what I wrote not write e 1 minus e 2 and e 1 is given as e 1 in the problem statement is given as 25,000 minus of e 2 equal to this exothermic heat of reaction minus 20,000. Therefore, e 2 equal to 45,000 calories per mole. What are we saying? What are we saying is that in the problem that is specified in front of us the activation energy for the forward reaction is given as 20,000 and the heat of reaction is also given as 20,000 but exothermic. So, I put all those conditions here and we find e 2 which turns out to be 45,000. So, we have in this reaction that e 1 is 20,000 e 2 is 45,000 therefore, delta. So, what is delta equal to 20 25,000 divided by 45,000. So, this is the heat of reaction which is 5 by 9 correct that is equal to 0.5 0.55. So, that is delta value. So, we recognize that to be able to. So, what we are saying is what we are saying is the following that our process runs in such should run in such a way that the exit conversion should be 0.52 for which you have to appropriately take care of the heat load using this device the heat removal system. So, what we are saying is that that if k delta. So, we have x m which is equal to 0.52 equal to equal to 1 k delta divided by 1 plus k delta. Therefore, this equation defines what is the value of k delta what is the value of k delta can we calculate. I have calculated that and found k delta values to be. So, if you put all the numbers you get 0.52 divided by 1 minus of 0.52 equal to k e we do not know this and then 25,000 e 1 45,000 e 2. So, this gives you a k value of 1.97 this is what we get. So, that means if you choose a temperature choose. So, choose temp T of reactor reactor so that equilibrium constant k becomes equal to 1.97. Now, how do we do this? So, we have to look at the data that we have after all this data available to us it is given to us. It is given our data for this reaction is already given corresponding to 1.97 we find that the temperature of the reactor must be chosen as 315 degree k this is degree k. So, what is it that we have done? So, when implies T equal to 315 k. So, what are we saying? What we are saying is that we must operate the process in such a way we must operate this process which means to be able to operate the process corresponding to the maximum reaction rate.  That means the conditions to be chosen should be on the locus of maximum reaction rate which means what we are saying is the following. For x m equal to 0.52 we have shown that this capital K must take a value of 1.97 which means the temperature at which this equipment this reactor must be operated the temperature must at which this must be operated is T equal to 315. So, it is corresponding to if this is 315 then we can get 0.52 which means if 0.52 is the conversion at which you must operate then you have to choose temperature to be 315. So, as to satisfy the criteria that x m equal to k delta by 1 plus k delta ok. So, if that means if you want to choose a temperature of T equal to 315 how do we get this we get this by recognizing that this you can get 315 if we satisfy the energy balance which means what the whole procedure says is that the maximum reaction rate locus defines temperature and the energy balance defines the heat load to be handled. So, as to achieve this kind of operation. So, having said that let us see how we can get forward. So, now the question is that we have this reactor now to which feed is coming in it is it is you know and this x is given as 0.52 and we have said for this x to be then the T should be 315. So, what are the unknown quantities now we know we not, but we do not know the residence time here. So, residence time tau is unknown that is 1 and similarly the amount of heat to be removed q is also unknown. Therefore, once we specify tau and q the problem is fully solved how do we do that to get this we let us look at the material balance what is material balance tell us material balance tells us that input minus of output plus generation equal to accumulation and at steady state accumulation and at steady state accumulation is nil. So, what is f a 0 and f a.  So, we can simplify this recognizing that c a equal to c a 0 times 1 minus of x and c b equal to c b 0 plus c a 0 x and then c b 0 is 0. So, putting all the simplifications we can get this is.  So, we can simplify this as it be right here we get x equal to x multiplied by 1 plus k 1 tau by 1 plus k 2 tau equal to k 1 tau it comes directly from here I am this collecting the coefficients of x. So, x multiplied by 1 plus k 1 tau plus is it right it is 1 minus of x 1 minus of x is it all right x just a minute minus is plus. So, it is. So, we get x multiplied by 1 k 1 tau is equal to k 1 tau. So, this is taken to as a plus k 1 tau it is fine. So, this gives you x equal to k 1 tau divided by 1 plus k 1 tau plus k 2 tau now k 1 at 3 1 5 and k 2 at 3 1 5 k we can get from the data that is already given. Therefore, on the in this equation only unknown is tau because k 1 at this temperature 3 1 5 and k 2 at this temperature 3 1 5 is given in the table. Therefore, you can calculate in the if you given x you can calculate tau. So, putting numbers x is 0.52 and k 1 and k 2 at k 1 at 3 1 5 and k 2 at 3 1 5 these numbers I have calculated and then I will tell you this numbers k 1 at 3 1 5 and k 2 at 3 1 5 k 1 at 3 1 5 is 2.34 2.34. k 2 at 3 1 5 is 10.08. So, I have calculated this numbers units are per hour all these are per hour all the data is per hour I hope let us just see k 1 k 1 is in per hour. So, all per hour everything is per hour. So, you can put this numbers. So, what we get is that k 1 is 2.34 tau divided by 1 plus 2.34 tau plus 10.8 tau. So, if you solve this we get tau equal to 0.11 per hour. So, this is material balance what we have done see what we have done is we have this is our problem. Our problem is we have a start tank where this exit conversion is specified. It is also said we must operate along the locus of maximum reaction rates which means that we should have x m by 1 minus x m satisfying this relationship. So, putting the value of x m which is specified as 0.52 we can get k delta delta is also known because delta is even and e 2 are known. Therefore, k 1 therefore, all the numbers are known and on that basis from the material balance which is given by this equation we can find out the residence time provided others are known in this case others are known that gives you residence time of 0.11 hour. So, our problem now is that the residence time tau is known in this tau is tau is equal to this is known. So, flow rates are known all these are known x is known here. So, only unknown quantity now is how much heat to be added or removed to maintain the temperature here as 315 degree c 315 degree k. So, how do you do this now we look at the energy balance and see what the energy balance says as far as maintaining this kind of temperature. So, what is the energy balance saying for a start energy balance for a start tank because this is a start tank.  So, in this case steady state therefore, steady state therefore, this goes to 0. So, r 1 minus of r 2. So, everything is known here accepting q. So, if you put all our numbers let us do those numbers. So, it is 0 equal to 0.6 this is cubic meters per hour c p is 1000 and this is 40 minus of 42 t naught is given as 40 is that right t naught is given as 40 and then r 1 minus of r 2 r 1 minus of r 2 this from our material balance we know it is simply f a 0 times x I will not show this now. So, it is simply f a 0 f a 0 is what c 0 which is 0.6 c 0 is 0.  Now, what is v reactor volume reactor volume is equal to volumetric flow rate times residence time volumetric flow rate is given as 0.6 and then residence time we calculated as 0.1. So, this becomes 0.6 cubic meters per hour is that clear. So, we have got volume reactor volume to be 0.6 cubic meters not to not per hour 0.6 cubic meters is 0.6 0.06 this is equal to 0.06 cubic meters. So, we can put this in here and then the only unknown here is q we can put all the numbers I have put most of the numbers. So, let us say this is 0.6 times 1.66 times 0.52 times plus 20,000 plus 20,000 and then 0.52 0.52 is also to be put here. So, essentially what we are saying is that r 1 minus r 2 times v is f a 0 x therefore, this is not there it is plus q. So, this gives us value of q equal to minus of 3158 k cal per hour and what is minus sign mean in the first law convention minus sign means the heat is going out of the system. Heat input is taken as positive in first law the heat output is therefore, the negative sign means so much of heat will have to be removed. So, as to be able to maintain the temperature of 315 degree C. So, the most important thing here is that we have been able to specify what is the temperature at which we must operate. So, that we get conditions corresponding to the maximum reaction rates having done this there are few simple calculations we can do after all you know the design will require you to specify things properly. So, if q is equal to minus of 3158 kilo cal per hour. So, what is the surface area heat transfer area we have to give. So, heat transfer area is what h a times delta t equal to q q is given therefore, a equal to q divided by h delta t correct q is 3158 h is 1000 what is delta t our delta t is temperature is 315 which is 270 and then 315 means 42. So, it is delta t is 42 minus of 10 that is equal to 0.26 square meters this is given this we have found out as 315 k and this temperature is given as 10 C. So, that is how it becomes what it is. So, we have been able to calculate what is the heat load and what is the heat transfer area. Now, the second related question in all this is to be able to see whether the process that we are running will be stable or unstable. On other words we must check for the stability of our process for various kinds of disturbances. So, that is what we would like to do now check how stable is our steady state. So, to be able to do this what is called as steady state stability what we try to do is we try to plot we try to plot what is called as u g and u r what is u g and u r u g is in generation. And u r is heat removal and our steady state our steady state is about the equality of heat generation heat removal when they are equal we know that the process it is at steady state. We can plot this curves u r just write down what is u r and u s something we have done before, but it is not a very complicated thing anyway.  And then it is we can show this is no point in doing it once again we know that r 1 s minus of r 2 s is equal to c a 0 x s divided by j. I will not show this because you already done this before therefore, u g s equal to c a 0 x s times j which is equal to c a 0 k 1 s tau tau divided by j 1 1 plus k 1 s tau plus k 2 s tau. See these things we have derived before therefore, I am not doing it again notice here that if you want to plot u g s all that you need to know is what is the temperature corresponding to this x s or in other words you want to plot u g s if on the right hand side k 1 s is the function of temperature. And k 1 s we know k 1 is what some k 1 0 e to the power of minus of e 1 by r t and therefore, since the right hand side is fully known k 1 is known therefore, you can plot u g as a function of temperature. Similarly, what is u r or u r by the f u r s equal to 1 plus beta we have done all this thing therefore, I am not doing it again t s minus of t c star where t c star equal to t naught plus beta t c divided by 1 plus beta. So, all these we have done where beta is equal to h a by v naught c p all this is known. So, what we are saying is that we can now plot u g versus temperature we can now plot u r versus temperature therefore, the points at which the intersect are the points at which steady state occurs. So, this is what we are trying to say and you can plot this how do you plot this and this show you how to plot this they are not difficult to do, but I just do some calculations to illustrate how this plotting is to be done see let us say t and k 1 say k 2.  So, I will just put some say 293 I will just 2 1 or 2 293 3 naught 3 3 1 5 and 3 2 3 I am just calculating some numbers. See we put all these calculations you can find at 3 naught 2 9 3 this turns out to be 3.32 minus 15.6 and then that is 293 3 naught 3 is 9.96 minus 1.29 then this is 17.2 comes out to be 15.9 and then 26.1 and 41.6. In other words what we are saying is that you can now plot see this data here you can see here this data got this data here u g s you can plot u g s versus temperature and then u r s you can plot u g s versus temperature this curve looks something like this and then u r s versus temperature like this and this is the point of intersection which is 3 1 5. So, what we have try to say here is the following if you have a stirred tank in which an exothermic reaction is taking place and then you have to operate this process at the maximum reaction rate which means it specifies the temperature at which you should operate and so on. Now you can also understand this steady state by plotting u g s this is u g s or u r s this is u r s or in other words the point at which the intersection takes place is the point of steady state. So, we can understand steady state in various ways this is another way of understanding steady state our interest now is now that we know it is there is one point of intersection how stable is this steady state is it stable is it unstable. Now to understand stability of steady states we have done this already I will just quickly run through this procedure for understanding stability of steady state. We have shown in an earlier discussion that an exothermic stirred tank stability can be understood in terms of 3 numbers l m and n where l is defined as 1 minus tau by c a 0 del by del x of r 1 minus of r 2 m is equal to 1 plus beta where beta is h a by v naught c p and then n is equal to j 1 tau within brackets del r 1 minus of r 2 divided by del t at steady state.  So, steady state is stable steady state is stable if these 2 criteria are satisfied. So, what is l m and n these are all numbers which is determined by what is given here where residence time here is known c a 0 is known r 1 minus of r 2 at s all these are known. So, for a given reaction kinetics l m and n is fully specified. So, what we want to do now is to illustrate to you how we can actually calculate l m and n for the specific problem that we have in front of us I want to calculate this in front of you. So, let me go through this whole thing quickly. So, r 1 minus of r 2 for example, for us to calculate l m and n we should know r 1 minus of r 2. So, that we can differentiate with respect to x and t and find out the value of these numbers at steady state that is what I am trying to do now r 1 minus of r 2 is k 1 c a 0 1 minus of x minus of k 2 c a 0 x. So, del r 1 minus of del x equal to k 1 n s with the minus sign minus k 2 k 2 s multiplied by c a 0 it is obvious from here. So, that is equal to minus of k 1 s plus k 2 s times c a 0. Therefore, what is l l we have to calculate l here we have to calculate l because tau is known everything else is known. So, let us calculate l. So, l is equal to 1 plus tau by c a 0 within brackets of k 1 s plus k 2 s or this is equal to multiple c a 0 is there equal to 1 plus k 1 s tau plus k 2 s tau. So, k 1 s is known k 2 s is known tau is known the l can be calculated. So, will I put numbers if I put these numbers this becomes 1 plus 21.3 times 0.11 plus 10.08 into 0.11. So, that is equal to 4.45 the value of l for this particular problem where tau is 0.11 per hour k 1 and all that we have calculated l is 4.45. Now, we have to calculate m what is m? m we said m is equal to 1 plus beta which is 1 plus h a by v naught c p that is equal to 1 plus h is let me just put this numbers here calculated here somewhere else h is 1000 and we have calculated this area just now we calculated area is 0.24 square meters divided by v naught c p v naught is 0.6 and c p is 1000 kilo calories per cubic meter particular c and so on that comes out to be 0.43. So, l please notice here m is this now we have to calculate n this is j 1 how to calculate n n equal to j 1 tau del by del t of r 1 minus of r 2 at s. So, when you do this differentiation this becomes n equal to j 1 tau del by del t becomes k 1 s e 1 c a 0 times 1 minus of x divided by r t s square that is 1 and the other side is k 2 e 2 c a 0 x s divided by r t s square. Now, once again all these are known so we can substitute calculate this we can put all the numbers I will just put all the numbers here j 1 notice here the j 1 by definition is minus of delta h divided by c p. Volumetric specific heat I am putting all the numbers here and then when you do that it turns out to be 0.03 I put all the numbers here this whole calculation turns out to be 0.03.  So, l if you summarize here l equal to 4.45 m equal to m is 0.43 n equal to 0.03. So, l plus m greater than n l m greater than n we can see here both the criteria l plus m both the criteria are satisfied are satisfied which means what which means that the steady state the steady state that we have chosen steady state stable by stability what we mean is what we mean is that to a disturbance the steady state would return to its original state because after the disturbance by by by this criteria what we really mean is that that after disturbance it will take time to reach the steady state, but it will reach that old steady state that is the point this is meant by this satisfying of these two criteria. Now, the question is that this whole this whole analysis is based on what is called as small deviations from steady state which means that we our disturbance should not be so large that the linear approximation that we have assumed in this steady state analysis that should not be violated. So, small disturbances these are all correct, but if the disturbance are very large then clearly our our approximations in the analysis are not satisfactory there were alternative techniques would be required I will stop there. Thank you very much.


It's academic, and it's theater, and the place where they both meet. We have to be audience and participants for each other. We do actual practices, historical practices, cultural practices. Everyone? Everybody, please. Examples of women sharing what it is that you do, sharing how you do that. There's no way you can ignore Latinos anymore. Work from all around the world you can come and see and talk about. What time is it now in Kenya? It started out about different people and about different things. A whole sea of phenomenon. Theater for everybody. Yes, everybody. That's just what should be done. And in view of my understanding of life, relationships, death has already changed. Cut back from the insurance, so my hand is on. So again, thank you all very, very much for coming. I hope you can also stay for the later reading at 7.30 tonight from Mexico. Conchillón play is also a fantastic work. It's the conclusion of the festival again. Thank you all for coming. And we have to say one of the actors who was supposed to with us had a terrible news from his family as someone died. He was telling how to go. So it's kind of not clear. It shouldn't be here. It's not with us. But somehow also he will be here and we kept the reading how it is supposed to be. It was a non-speaking role that I significantly wanted. I understand your right and see your right. So again, I would like to keep that lecture for you to keep in mind. Thank you again. Good morning, good morning. Welcome. Take your seat. My name is Njauu, the archangel of the soldier. But I am not a soldier. I'm a driver. I pick you tourists up at the airport. I take you to the hotel there. You pay $20 for a cook. In practice where the wheels is not supposed to wear clothes like the one is wearing with cuff and colors. It is too hard for cutting colors. I pet you in the morning and give you your tourist pass. A safari hat, a mat, a badge for welcome tours and I smile non-stop. You're now in my hand.  Some, the lake, some are from the NGOs. You want to do good. Visit people with AIDS and malaria. Some of you want to see the rhino or the mouse or the what what. I'm the friendly one. I've got the extra mile. I make sure there is an ice and ice box. If you have asked me a question, I'll give you the answers that you want to hear. Yes, there's terrible corruption here. Terrible, terrible. Yes, the Chinese are building our roads. They are making our women pregnant. Soon before we know, all of our children will have scented ice. The Chinese are going to know why. When the Chinese tourists visit, I say, yes, yes, they are American. They are loud. And the fat, very fat. But you are all the same. The Americans think, well, the South African come their penis. The Americans speak loudly. Oh my God, is that a Messiah? Oh my God, where can we have cheap tableclubs? So, what's going on here with the Muslims? Are they, are they causing trouble here too? I know everything. I'm self-educated. You tourists show me everything. Okay, I watch you. I witness all the stories. I have adulterous, induce less information. So, let's go. Are you ready? Are you comfortable? Sit best on. Are you ready to the bathroom? We are driving five hours before the first stop. You're sure you don't want to use the bathroom? Okay, let's go. He's singing, praying, calling to the fish, quiet. Intrigued, watches on. He is mute. The performer representing Peter uses dance to express himself, which serves as a motif throughout the play, a combination of classical and traditional. John senses that the fish are nearby. He stops in anticipation, listens, waits, senses, and decides. He picks up an imaginary net and throws it into the water. Peter, excited, dances the dance of the triumphant fisherman and the star. Splashing water, John is struck unconscious. Peter slowly carries him to safety. John fragile stands in an enamel basin, whilst Ruth carefully bathes his body. John's leg is badly injured, and he uses a crutch to stand. John thoughtfully weeds from the Bible. For we know that the whole creation has been groaning together in the pains of childbirth until now. And not only the creation, but we ourselves, who are the first fruits of the spirit, groan inwardly as we wait eagerly for adoption as sons, the redemption of our bodies. For in this hope we are sane. Now hope that is seen is not hope. For who hopes for what he sees? But if we hope for what we do not see, we wait for it with patience, what we do not see. What could that be, Ruth? We cannot see. I suppose it could be love, we cannot see love. We need to get you meat. Fish, you need your strength to get better. I'm getting better. My strength comes from you, my wife. Martha has joined a fishing group. You know Martha, the daughter of Sarah. Yeah, I know her. The group is run by the British. They teach women to fish. Ah, what did the British know about fishing? I could join for a while, just until you get better. My wife, the fisherman, do you want to bite off my other leg? I was just suggesting for a few months, you need your strength and God gave me a strong body. Do you know that I used to go out on the boat with my father when I was small? Those other little girls would tease me. Ruth, the boat's cap size. The tents are heavy, it's cold out there. No, but John, we cannot sit here and starve. I will make a plan. Do you hear that sound? What sound, John? The chewing. It's you chewing, John. No, no. Please don't stop this again, John. You were just beginning to get better. There's nothing there. I heard it again last night, Ruth. Ooh, who did you hear? You know who the same one. He stood outside our shack, chewing. No, I was up late. I would have heard him. He was there. I heard him. You were asleep. There, asleep. It's in your imagination, John. I saw it's eyes, Ruth. It was dark, but I saw its eyes. Yes, you've told me many times, John, wipe it from your mind now.  My husband does not wake at night. My John has got steel in his veins and the heart of a lion. My John is not scared of some lonely animal. Mother says that fishing is not difficult. And they don't sell the fish. It's just for eating, so they pose no threat to the other fishermen. Have you not read the Bible, Ruth? When Jesus chose his disciples, did he gather fishermen or fishing women? Jesus did not provide for your leg, John. But he will, Ruth. He will. I was speaking to David. He says they might need someone to help men net. It will be something. That's good news. In the meantime, John, I should learn to... No more, Ruth. I will not hear any more. I'm still the man of this house. Bloody leg is bleeding again. Jesus, where are your fish, Peter? Peter withdraws his down on the floor. He does not want to take up too much space and makes himself small. He is in his own world, but he's still without the conversation. Leave him, John. You stay in my house.   Leave him, John. But you stick up for him. He's a healthy young man. He could take my place in a boat. He fishes all day from the shore and he brings home an empty plate. There! There! There's your supper, Peter.  John, but there's no point fighting with this boy. You're too honest and too wise to behave like this. You're not like this.  And so? So, do as other women do and be quiet about it. What are you saying, John? John, are you saying... Be quiet. I have no mood for this provocation. John, are you saying that you would prefer... Be quiet. I'm not saying anything. I'm not saying anything. I'm going to send a message to my brother, my brother, Neara. Neara. Neara, he must come home and help us. He knows what to do. He'll make a plan. Neara. Where is Neara? Making speeches. He is a clanging bell. His grandfather sold all the ghosts to get him an education. And what has he done with it? Shamed us. Hanging around with politicians and troublemakers. Neara's a shrewd man. He'll bring menacing from the city. Menacing? God knows I need something.  Peter Genby practices throwing the net. Three times we nearly had a child in our lives. The first was a girl. She was born early and too small. She couldn't breathe. She only left for a few seconds. The second was a boy.  He also died quickly. The third time there was a girl again. And she was bigger even, had hair. She left for two weeks. And we called her a sander. I thought we had been blessed. And then she started bleeding. Who knew a baby could have so much blood? Late at night at the clinic in the town where I took your aunt.  Can you imagine? It was over for me. I ran back home. Climbed into a boat and rode in the middle of the lake. I screamed and screamed. I screamed my heart right out. And I knew then you can't control things. What's going to happen will happen. You can just hope for the best. It is God's will.  It is dead. They are dying. I'm not supposed to be here. I'm supposed to be there. I should have never come here. How are it? The place of the papatines. An Egyptian goddess who presented fertility and childhood. She is depicted as a pregnant papatines who stood on her hind legs. That's what one American told me. They are the PhD in HIP. Doctor in Epipopartum Mouses. Do you say Epipartum Mouses or Epipartum Mice?  I'm the driver. I take people on holiday to go see people who are suffering. Then I get a tip. I'm not supposed to go off-route. I'm not supposed to give the locals myth. But I did. I gave Nihara a lift. And that's why I'm here. We ride in the rain. Nihara in the black umbrella. The red and black checkered scarf. The deep voice of a prophet. He wanted to drop in on the family on the way back to the city. I was obliging. I've known Nihara for a long time, but I have never known his madness. Now I know I am part of it. In the kitchen, she's cleaning a fish. In the distance, on the shore, there is a faint tableau of a silent John looking into the lake, whilst Peter throws an imaginary net. The movement is quiet, subtle, and dreamlike. Jahu and Nihara enter. Nihara with an umbrella. It has been raining. Have you brought medicine? I? Yeah, look how thin you are. I brought medicine. I brought antibiotics and disinfectant. Do you remember in Jahu? I do. In Jahu was kind enough to give me a letter. Please, Ruth. Give him some tea. Hello, Ruth. Hello, Joe. You look too nice. Joe, it's good to see you again. It's been so very long, Nihara. Please, let your back.  My mother thought you were happy. Have you seen John and Peter? No, we have just arrived. Here's John Walk. On a crutch, he's determined. Anybody around here? Is it safe for you to be here? The militia has been through the village recently. They are relentless, looking for the rebels, terrorists, even checking the boats. Yeah, I'll have to go soon. In Jahu, it's too late for that. It's too late for you to leave now. You can go in the morning. You are safe. But I'm not the wrong. I'm not the rebel, and I'm certainly not a terrorist. Yes, you must stay in Jahu. They will stop you at night. Thank you, Ruth. I am quite tired. The roads are like riverbed. My brain has been roughing around in my head for days. You're still working for the tourist company? Well, yes. I can drive most of the routes with my ice roads. The problem is, I have to speak to the tourists. Keep them entertained. Some weeks back, I had a woman who needed to use the toilet every half an hour. And you know, there are no Western toilets for about 600 kilometers. I suggested that she do as we do here. She refused. She became more and more rude and more aggressive. Eventually, she just shouted, Stop, stop! And right there in the middle of the road, she let it go. The expression on her face, that she was quite pleasant. Quite talkative. She's a yoga teacher from Juarez. You still like telling your stories. It's been so long, Miara. Peter has grown now. A lot has happened. Not yet. Nothing ever happens here. I bet you mean that there's no problem yet. The people are dead. Forgotten. But in the city, things are different. There's a spirit, change. Although it's become dangerous. Change to what? From what? Does it matter, Ruth? We are alive, Miara. We have hope we are here. Alive. And so, John? A hippopotamus. He turned the boat and got John's name. You know, I once met a man who would chase by a bear in America. He was riding the bicycle suddenly. Peter was with him, Miara. He was terrified. God knows what he saw. He stopped speaking now. He never spoke much. Not at all. Not a word. It's been months now. John can no longer fish. Peter does not speak. But we need you here, Miara. Things will be good again. I'm sure you can get a place on one of the boats. John can no longer fish. The wound is making him ill. He's going crazy. Did Peter not take John's place? He cannot. He's not normal. He does not speak. He throws the net all day but brings back nothing. John is out now looking for him. But you have fish? Yes. A gift from a neighbor. What? Your fish must be quite equal. No, they are scarce. Almost nothing these days. Then why the gift? I did some chores, Miara. There was a python out in the van and away here. Beautiful creature. Curled up a sleep on the back window ceiling. Did you kill it? No. I threw it in the bushes. That's me. Hey, just lying in my van first to sleep. I said to the snake, snake, what are you going? Have you paid for the transport? Do you want my tourists to have heart attack? He's going to bring me bad luck. I've never had one in my life before. What have you been up to, Miara? You left us so suddenly and you had a good job in the future. A good job. A job at living fish in a factory or a man with an MA degree in social history. That university was a waste of time, Miara. Well, at least you got paid. I passed five in the morning for eight hours and then for overtime and still not to, not to buy a pair of shoes in three months. My back crooked. Cleaning fish, scrubbing them, rinsing them. Do you know what it is like to have a thousand eyes looking at you? Golden head and the moist. Scrubbed my stink. My hands were too close to my fingers. Pain, freezing. And a degree. One day, I looked at the eyes and the eye looked at me. The next thing I passed out landed in a trailer load of the deadest fish. I was surrounded by fiends and scars and slibly coldness. I laid up for a long time until the superintendent found me.  Get out of there. Fish. I couldn't stand. I couldn't walk. He called some co-workers to let me out. Once I stood on my feet and felt the ground. I began to walk. I walked for 18 months across the continent through the border post, through without a passport. I spent weeks in many prisons, but I refused to stop. It is my right to walk, and so I did. It is my right to walk, so I did. That was eight years ago at least. Time. The British have started an NGO here in the village. They provide boats and nets for women. Ha, the British. Yo, Bruce. Don't be absurd. You know there's no future in that. What's another guilt trip for the British? Don't play into their heads. It's better than nothing, Nyara. Women are not supposed to fish, Ruth. And... Nyara, I'm surprised at you. Are you not a liberal? Huh? The activist. You have a right to walk, and can I not fish? There is a limit, Ruth. A limit? I don't know. Once I met a woman who was a boxer. Can you believe it? A boxer, a fighter. She had huge muscles. Carrying part of our own language. Nyara. John, my brother. Jadu, welcome. Thank you. And Nyara, it's been years. Could you not have given us someone, ain't ya? You return like the prodigal son. We could have prepared a feast for you. Alright, feast. That's not even sugar. But we would have found some. Yeah. Where there is a wheel, there is a wheel. I'm pleased you are back home. We have needed you. Times have been hard. Peter. Peter, this is your father. Do you remember him? Peter. I will speak to him later. Maybe it's time for you to know the truth, Nyara. The people gossip. Well, let them gossip. Did you hear about the hippo attack, Nyara? I tell you, it was the biggest I have seen.  Bigger than the boat? Jesus, not a head at all. I heard John. A rat. I was a rat in his mouth. But I made it. Hey, Nyara. I fought him. Like David and Goliath. I punched the hippo part of his in between the eyes. I still have fight me. Did you know that they sweat blood? Hippos, especially when they're excited, are red juice. It has a terrible smell. Be quiet now, John. Let me look at your wound. Nyara's brought some medicine. A rat. Jesus.  It is good to have support of the family.  No warning. None of us saw it coming. Most men would be dead, dead even from the fright. But I am a tough old man. These are fish, Nyara. Some years ago, a guy came with a bucket of fish eggs. We don't know who he was or even where he was from. These eggs grew into massive motherfuckers. Excuse my American predator thoughts. They eat everything. Even their own children. The bigger they get, they eat bigger for the fish. Soon enough, our fish will finish. And we're left with these illegal immigrants who are not getting smaller because they are no fish to eat.   This is why I'm a tour guide because I know everything. The brother of Ruth, he left the village years ago to seek arms. I don't know something. I thought he was here to bring medicine, but soon I realized he had another plan. The plan that he flew with me. In gentle light, Ruth lies holding a sleeping John. Joel sits contemplated beyond the jetty. Nyara on the shore is watching Peter cast his net. Peter dances a dance of emptiness and frustration. He becomes frantic in his pursuit of truth, casting his net out into the enormous lake. Peter, Peter, what are you fishing for? I know you are angry with me. I have no choice. How do you get out of here?  That's what they change means as long as it's no more this. We people have suffered abuse of chiefs, crafting politicians, exploitative merchants, all kinds of vulgarities, and now we suffer ourselves. I want you to go to school, Peter. Not for a job. Why should you work for some exploitative will? But for an education, learn to think. I want you to come with me, Peter. Taste the wind, be a man, all you have here and an old crippled uncle who only possibility is he might have an old job fixing nets. Nets for what? To catch what? Well, I'm not a hippopotamus. Oh, Dr. Jawa, then he picks up his net and walks into the distance. Jawa looks at Nyara. You know he's a soldier. You never told me that. I was only 15 when I made his mother pregnant. His mother was a beautiful woman. She died a child of mine. Okay, there was too much rain that year. We could not get out of the clinic. We pay taxes for roads, but do you see roads? We pay taxes for refrigeration next to the lake. Do you see refrigeration? Well, our taxes, huh? Lining the purpose of the human needs, those above the law, those above God. All right, Nyara, it's not you that pay taxes, me. Me. You don't even have a job.  Why does she don't speak to me in Jawa? Have you ever seen such a child? Maybe I've learned nothing to say. He's not hurting me anymore. He is hurting me, huh?  Just be his father. That's what they mean. Don't you ever think?  Go to nothing here, start their business. I think he's a good man. Bring him up, your son. Do his best.  Have you seen his leg? You know, I've got my heart. It is going to kill that. I don't know why I came back. I am so angry again. Do you have a whatsoever in Jawa? Don't you hope for something better? I have a job. I have four children. Their mother left me when the youngest was two months old. Can you imagine? I have to stop driving and be a mother until I've found a young woman to help me. Now she has a child with a young man who is studying to be a teacher and I provide for her child too. I don't have time to look for more. I do my job and feed my children. I hope that they are okay. That's all. But at least you have a job. Yes. Do you have a woman? No. Some of the kids you want. No, you know that. I can't have a woman again. Not after what happened. I gave her everything and then she left me. Didn't you have a roof over there when you were young? No, you can't call that. No, but I was very fond of them. Why don't you take her? Roof. People would go with her. They will have a future. This is why I brought you here in Jawa. You have known roof for a long time. It would be a perfect match. You brought me here for roof. Roof. Roof is married to John. John is useless.  Have you seen his leg?  He won't live long. You're mad, Nera. You want me to take John's wife? Yeah, I saw you looking at her. Mad shoe. Mad, mad, mad. I can't leave her here. This place is dying. People are becoming animals.    Look, in Jawa, I have loved it back then. I believe in the sanctity of marriage, but there is no other option. I saw her looking at you. She's a good woman. She will look after you. I'm leaving tomorrow, and I hope that I'll never see you again. She is holding herself. Look, that she gets the fish. You don't know that? That is what all the women here do. She is holding herself for fish. For fish to put on a plate for her bearing husband. My mother, if she were alive, what would she be doing?  She was a true woman, true. Tore and graceful. I was her first, I was first of her only two children. And it was because of conceiving me. I took her virginity. She had to grow up because of me. She was straight and powerful. And my father outfishing his whole life, outfishing. And when he left, it wasn't a few months, and she married another man who was not even a man.  John knows what he is doing. He knows she hoarses herself. He pretends he does it, but it suits him. I told you, now you see. Ruth enters, walking across the banks of the lake, carrying a bucket of fish on her head, and seeing quietly. John sits and watches her proudly. She sees John sitting at the lake side, and they smile at one another. David says when the wind comes, they will need help from the nets. A few more weeks, the wind is tricky. How was your lake feeling? The same. I told you, now you see. Perhaps it will take a few days. John, the fish, I... Do you remember when we first met? Yes, John. Do you remember? Yes, yes. The river bank, me washing. You getting off the boat with your net full. You were the champion. The lucky one who always knew where they were swimming. How? To bring the biggest ones in. I would sing for them, call them.   No spaces between us, our skin, our sweat. Your eyes, gentle, seeing all of me. The way you took my hand, and placed it on your softness. Yes. And you like a strong, fierce tree, a tree that could never be blown over. John, the other man I... Yes. Don't love them, will you? Please do what you have to do, but just think of me. I am the only one. John, I don't... I don't... How can you even suggest... I'm not suggesting. I'm saying if you have to, then you must. John, I should go home to my mother's place now. It's cheaper for me to catch a taxi while I'm alive than for you to send my body here. Transporting the dead is an expensive business. It's none again. Good morning, John. How are you feeling? I need to speak to someone about my death. Can you come with me to the rain street? Where is Nyara? Do you trust the brothers of yours? As much as one can trust. I never knew like this. Maybe he has contracted malaria and lost his mind. His morality. Nyara's always been otherwise, but he means well.  It's him. I'm sure it's him. He destroyed my battery. He's plotting and scheming. You must take him out. Tell him to go. Don't be ridiculous, Senjawa. Why would he do that? He can't leave yet. He must help us and he must mend his relationship with his son before he leaves. Peter needs a father. Peter needs a father? Have I not been a good father to him all these years? Senjawa, can you smell that? I didn't mean it like that. Are you saying I'm not a man? That's not what I'm saying. What has your man got to do with anything? Senjawa is right. Nyara must go. I'm sorry, Senjawa. You should not have come with Nyara. No, I should not have come. But I have some time. I thought I could lend a hand, helping. You've always been a good man, Senjawa. My homeboy. I had a left. You did well to me. But I asked you to come. I don't know. That was then. I was too shy and I had nothing to offer you then. Life brings us what we ask for. I must have asked for John. John, he's a good man. Yes, he is. But he will not bend. He will not shift. You know, Jawa, I have desires. I could make some money for us. I could start a small business selling fish to the villagers.  The fishing company loads our fish into aeroplanes and leaves us with skeletons and even those we have to buy. But if we women can catch a few each day, just enough for the table and we're not working for the company, they can't stop us from selling them. Then the license to fish. Why do we need a license to eat what God gave us? You sound just like Nyara now. Those I know, you will get in trouble with me. Those are dangerous waters. Sue, we will need permission to breathe our own air. But the NGOs say that they might be able to help us get a license. It will cause a disruption. The men will be jealous. I remember once there was a woman in the neighborhood village. She learned to drive a tractor and a few weeks later she disappeared. Go. Are you saying that it is impossible? I'm saying it is a good idea. But ideas in reality, things don't just change, Ruth. It's like digging up a very old tree with the idea of taking it across the river and planting it in your road for shade. On the way across the river, the tree will sink and nothing will remain. The old tree will be gone. Nothing will take its place and you will have your shade. Maybe I will help you transport the fish to the river. What do you do? It has never been done before. And here, Ruth, you know how dangerous it is to work against the grain. Anything can be put on you. Drugs, terrorism, witchcraft. I once met a man who… Sonja, it's not impossible. It's not impossible for a man to bring up four small children by himself. I did not think that possible at the time, but you made a plan. You're a good father, Joe. Not really. I do what I have to. So still out there, huh?  Back and forth, safe, silent. The world continuing somewhere over there. You stay towards the back of the boaters. It's better for the betters. And the wind, gentle. A part of you, not like back on the land. At night, I dream I am rocking, as if I was still on the water. But I don't feel safe. It feels safe on the water. You are written, Christian. I knew it. I tried, Joe. For a few days, it's not the men's bodies that are mine. They're sweat. They're smell. I can handle that. It's their eyes, Joe. They so hate themselves.   They hate their fathers for leaving them. They are just all so small and angry. I knew that, Joe, Christian. An old woman flaunting her colors. A church dress. They say we have the best sunsets in the world. It's fishing. Yes, very much. Why are you here, Miara? You have bought the medicine. Thank you. But you, you should leave now. Don't you have work to do? I thought you belonged to some important organization that is going to overthrow the government. My organization believes in peace for demonstrations. We try to fight corruption and uphold the Constitution. We're not about ethnicity. We're not about ideology. We want plans, ideas, thoughts, passing, clarity. Not fingers and pies, greed, selfishness. We are there to serve the people. Impressive. What are your plans, John? For the future, how are you going to keep going? I will serve my family. I will get better eventually. I must. I will work again. And my hope is to one day buy a small piece of land and farm some chickens. Go. Two buys of land. Yes. Pet you. You can barely walk, John. Who do you see here buying land? Your friends buying land. You should leave, Miara. I have to take care of Ruth and Peter. Take care of them. Are you going to get a job on the boat? I could teach you. I know all the secrets of the land. You know I cannot do that.  Then leave, Miara. We have no use for you here. Just another mouth to feed. It is Ruth that is feeding. Yes, she is doing that. Like my mother did. Yes. How long could you let this continue, John? Your leg is rotting. It's still... I'm sorry, but it does. If something were to happen to you, Ruth and Peter would be desert. I will not desert them. I have loved Ruth since I was a boy. I will not leave her. John, what would her mother say? What would your mother say? They would say, look after your husband and pray that he gets better soon. Not about you. About how she is putting food on the table. She is just doing some chores. What chores? Whose chores? Some washing. Looking after clothes. Let us not buy fish, John. You know that. To come with us. With me and Injawu. Injawu has money. Our Judas. Do you think she enjoys being with other men? I suppose some of them are nice to have. By her new dress, John, she will bring home more fish. Go, Nihara.  I'm just saying. Maybe one or two of them are decent lovers. They can't help you that. I'm just saying she is that. I'm just, I'm not saying she enjoys it. But a woman needs to feel something. Hey, hey. John, I'm not trying to be cruel. I am a man who values integrity. You just have to face the facts. All he has here is the prospect of getting a disease.  Bone and a mouth, under a tree. Practice who she will be a few years from now. Get out of here. Leave us.  Hey, you will let my sister go.   You will give her and Peter a chase. People born with hope and others not. Is there something inside you like a need to eat or drink or keep yourself warm? An instinct or is it a belief? Something you believe is there because someone told you to have hope. Your mother or priest or teacher, near as hope. Near as whole purpose in life is to grab hold of hope. But too much, too violently, like he would take it by the neck and throttle it. John's hope is as a wish. He can never be and does not exist. Ruth's hope is humble, she can get it, but it is cruel in the world so full of man. Peter's hope is from another world, the ancestor. At least he can believe in it and me.  I need it, even if it is not. But mine are just little... The kitchen, John was packing, the family sit quietly, Ruth washing bandages. N'yara enters with a new battery, he picks up some fish and eats. It is amazing I can still eat the store. Ruth, you are coming with us. You and Peter, we leave tomorrow morning. John and I had a discussion and he agrees. It is the best day. If he gets better, you can come back. There is nothing for you here. What? N'yara, John? It's better, Ruth. I think you should go. What are you talking about? The two of you can't just make decisions for me. I cannot have you staying here and prostituting yourself for a plate of fish. That's what you think, isn't it, N'yara? And you too, John. Is that what you think?  Tell the truth, Ruth. You cannot hide it from us.   Have you told him why he has such pale skin? Do you really think he could be your offspring? That's enough. Forget what you heard, Peter. It means nothing. Go with them, Ruth. It makes sense. You can come back in a few months. Where are you going, John? John, I love you, only you. I need to stretch my leg. We can talk later, Ruth. Be good to them, N'ja'u. Don't, John. John, I will never leave without you. I'm sorry, Peter. You do not deserve this. Do not listen to her, Peter.  I'm not a prostitute! I'm not having sex for fish! I am fishing, okay? I am fishing. I am a fisherman.    What are you talking about? After father left, she took another man. A husband. She needed support. She did not want to be a part of the widowers. The women who take handouts and join pathetic groups where people look down on them. She had me. She needed money. Money! And all he did was make her sick. Make her in! But who are you to judge, huh? What do you know about responsibility? What do you know about her sickness? It was me who was feeding her.  You have the opportunity of an education. Of getting us all out of this squalor, but you abandoned all of those dreams for what? For empty promises from careless politicians.   What can I do with an education where there's no jobs? No jobs unless you are the right family, unless you are family of the right drag. Or unless you have money to bribe someone to give you a job. But you're making excuses. Did anyone ask me if I wanted an education? No.  What kind of example are you to your son? He is not my son. You have done a good job of pointing that out to Matt, Ruth. No, but it could have been. It could have been if you had just stopped worrying about yourself for a second and seen the world around you. Look at him for a moment. Felt his yearning. The story goes that Peter's mother had a beautiful voice and sometimes sang at the bar near the factory. Pilots would come from overseas and pick up the fish from the factory. Sometimes they would stay for a few days. They needed women. They say that Peter's mother got pregnant from one of these men. She did not want to admit her fault and told the young liar that he had made her pregnant. She died a childbirth and the truth never came out. Now until now that is. Maybe he knew this all along. Maybe Peter knew this.   The smell of urine in all the alleys. The smell of forgotten hope. New unnatedness. A time when we were in partnership with God and the land. The land. The lake. The soil was gold. He provided for us everything we needed. The only time I feel that now is when I walk and I walk. Decay. Can't agree. It's being eaten from the inside like this village. Like my life. You know Peter there was a time when we were one with God here in this village.  Not from this world.  And Ruth can't be here anymore. And Yara's right about that.  The flies. The stench. A man.   Let me rip and it's nostrils. That hippo still knows who it is. It still is the master of this lady. It is not for God. John resolute walks into the lake. Peter watches Peter dances in the water. The struggle the trium. That night Ruth searched for John. She went from house to house. She called out his name in the street and on the bank of the river. Soon the search party gathered of old men and women. Children. Dogs. Everything and everyone looked for John. Some rise that was still calling his name and then Peter appeared. It was as if he came out of the lake like some kind of ghost or spirit. He looked like an ancestor from another world wise tired and full.  Towerettes have been murdered. The goddess of fertility was beheaded. And then and then Peter in broken speech says John killed the hippopotamus. He died like a man. He fought and he screamed. He stuck his fingers into the animal's eyes. He scratched its tongue with his fingernails. He bit its nostrils. He killed the hippopotamus. This was my mother's dress. John would have liked me to wear it. Thank you Joe. You look smart Peter. Look at you. I didn't recognize you when I walked in. I thought who is this handsome young man visiting room. Maybe a pastor or an undertaker. Nihara has left. Taking his things. On food? Yes, walking and praying running away again. I will wait for you after the funeral room. I can't afford you much but I will take care of you. You're a good man. In there. Only to the lakeside where she collects John's hat, crotch, shirts and shoes. She gives them to Peter. Which I will stand, car keys in hand, suitcase on the ground. The sun is setting. The funeral is over. It was a dignified burial, a nice coffee, food for everyone, a good sermon. We couldn't find much of his remains, but Ruth said that his hat and shoes were enough. And now I'm the driver waiting for my passengers. I've been waiting for nearly an hour. Perhaps she's still packing for my children. My eldest daughter, who is studying to be a nurse. The youngest still in school. The one I brought up on my own, she wants to be a film star. I told her by my house and the new kitchen table that I bought. Shiny, yellow wood, big enough for the whole family. My church, where we sing all Sunday and where we make food for all the little children who come and have a plate during the week after school. It's almost two and a half as long as it is cold. Peter cautiously steps out from the shadows like a shy rhino. He is ready and wears John's hat and shoes. He carries with him a small bag. Jaowoo looks at him. Peter smiles. Jaowoo accepting nods. Jaowoo waits for Ruth to appear. Jaowoo looks out. Lights begin to crossbade on Peter and John to the sound of John's chant. She is out on the lake. She chants quietly. She waits, listens, smiles and decides. She heaves the net out triumphantly into the lake. Thank you for sticking around for a little brief conversation here with playwright and director Laura Foote. Please give her a hand. I'd love to just right away kick out a question to you all about what is a lingering impression or a theme or a line that struck you as you sat through tonight's reading. Just throw out some words or some phrases. Moby Dick. Moby Dick, all right. Anybody else desire home? Reflection. You probably have filled all those things in, right? Restoration. Restoration? Yeah, definitely. Thank you for flying all this way and being here with us in New York.  He said playwrights are rarer, more precious than directors. In fact, directors are a dime a dozen. They're right. I don't think that's true at all. But he said that he should write.  Do you distinguish between the two or do you find they coexist peacefully with one another? I think that directing and writing go well together. I've always been of the school of kind of like an author. So sometimes writing on my feet, working with the actors. But to get into the role of writer and to find that silent, quiet space that takes some time when I go back to writing to be with myself and question myself, that's quite challenging. But once I've written the piece and go into the rehearsal room, then the director-writer is a good combination for me. Do you often direct your own work? Yes. So, you know, the premiere would most of the plays that I've written. Is there a conscious moment in your creative process when you say the writing is now finished? I am focusing on how it is being presented to the audience. Or do you feel like the writing continues to evolve? But I think the different layers of text. So, you know, the subtext or the pretext, you know, that starts in my imagination or in my dreams. And then the written text. And then, you know, there's the actors' text and the performance text. So that keeps evolving as we near towards opening night. And even then there's a different text. The text that happens with the audience on a specific night, you know, that's a particular mise-en-scene. So I don't think it ever stops. But at certain points, okay, well, there's the written text now. Now where do we go in terms of performance text? And in that case, we might need to alter some of the writing. But at times, I thought perhaps it's not good for me to direct the work. Because maybe another vision, a stronger vision, you know, might assist the text. And that has happened. Other people have directed my work and something fresh has come to it. But I think for a start, it's good for me to direct it. What was the journey for this particular play? Like, when did it enter your consciousness? What was the process? Where is it added in its life? Well, it started when I saw Hubert Sorpa's documentary, Darwin's Nightmare. And that was several years ago, probably seven or eight years ago. And that's just the most extraordinary documentary. And it stayed with me for a very long time. And then, with Mandela being ill, there was a sense from all of us, really, of, well, when Malibu passes away, where will our hope rest? We had been hoping for so long.  And what will happen to us? Where do we place our hope next? And this started the question of, well, where does this hope something internal that I'm born with? And what if I don't have it? And where do I place it? And what happens if people place their hope in the wrong person? A dictator or a maniac? So just this question of going round and round in my head of where do we place our hope? When we wake up in the morning, how do we get out of bed if there's no hope? So there's those two between Darwin's nightmare and that idea of hope, I started to play with the ideas for this particular story. And then I went to Kenya and stayed on the lake for a little while and met all the fishermen and met different people and listened to their stories. And so I started putting the piece together and then directed it for the Baxter Theatre. And then worked obviously with the choreographer because the dance element is strong in the pieces. That's a big part of the piece. And so that's another text, the text of the dancer, which came into being through your hustles and your hustles. Your text and even the images that you predicted on the screen tonight brought me back to my own time in Kenya, especially on the coast in Lamu and on Manda Island over there and the community that exists that has been for centuries and it makes it living off of the natural resources and then the tourists that come in and sort of consume all of that. I found that very provocative and was able to sort of relive some of those beautiful, beautiful memories. In Cape Town, what is your relationship to, I'm sorry, switching gears here a little bit, to the tourism industry and your relationship. Obviously, you have a very strong and important relationship with the local community through the work at the Baxter. Do you have any tourists that come through? No, Cape Town is a tourist hub because it's such a beautiful city. So tourism is a big part of where we live. We live in Cape Town and it's cheap for you. Cape Town is extraordinary. It's really picturesque and beautiful, but there's also a huge disparity between rich and poor and a lot of millions of people that have been left out of the new South Africa. So it's always a sense of juxtaposition. So we at the Baxter don't have a particular relationship with tourists. I mean, we put out all our work and we do have tourists coming to see our work, but we don't have a market as such for tourism. Are you a hopeful person? Yes, I'm hopeful, but as I said, after watching our country going through the various arc that it's been through and me having witnessed that for the last 50 years or right through the struggle years, it's difficult at the moment and that's the question that the play brings up, I suppose, is okay, where do we place our hope now? Because it's exhausting to rekindle the hope, but I am always a hopeful person. You said this is a challenging moment for the country after Mandela's passing and that symbol Tell us if you can be vulnerable about the honestly what is going on inside your soul in terms of the hope you have for your country. It's longevity. Well, you pray that it doesn't happen like what happened in Kenya or in other African states where the government becomes so corrupt that the people are completely forgotten, because we went through all those years of apartheid with this corrupt and horrific and greedy government and we came out of that thinking, okay, well, here's an opportunity for humanity and it's very difficult to now go through another cycle going, oh, here comes the corruption again, here comes the greed again, because we've seen that already, we've seen that lack of humanity. So it's a difficult time, but there is hope and there are the young people that are speaking out and saying, no, this is not what we want. At the backstreet you may be aware that there's a tremendous program for new writing that is happening in the community and what are you finding in terms of themes that the writers that you are supporting are bringing to light through their crap? A lot of social issues, family violence, gender issues, you know, the artists are beginning to voice and female artists beginning to voice those things that they wasn't space for previously. So a lot of gender issues and violence in homes, you know, and that's again the cycle of poverty, the cycle of violence that's being explored by young people. As a woman leading a major cultural institution in South Africa, what are, what themes do you relate to in terms of Ruth's journey in this play? I suppose all of them, you know, I suppose the, you know, the voice, finding the voice and also being misunderstood.  So for her to be, you know, a good wife and a loyal wife and loving, but at the same time find her own voice extremely complex. And I think a lot of, a lot of women and the tradition, you know, the history, I think a lot of women not only in Kenya, but I suppose in all of the, all of the world struggle with that, with that balancing of tradition, loyalty and then, you know, articulation of self. Are you, if you guys can be articulate of selves for a moment, do you have any questions for Laura regarding relationship to her play or her, her, her life in Cape Town, her theater? Yes. The actual writing's not so long, like two, two months, because, but I'd thought about it for very long, you know, for several years, right from when I saw the documentaries, it sort of sits for a long time and then there was a research period and then I actually sat down to write.  As I said, the text that you weren't seeing tonight was the dance text that was accompanied in the piece. It struck me that you, the activist character who doesn't seem to know anything really about what's going on, is not able to do anything in the world outside, but he does cast his net on the home ground and he does make change for his sister. He really does do that. Do you think that most of the activism is futile? I don't think activism is futile, but it's confused. You know, it's who's fighting for what, but the energy of activism is hopeful. You know, even when people start wars, it's because they want change. They want this to change. And that is destructive, possibly, but not futile because it has the charge of some kind of energy. I mean, as opposed to sitting and dying at the lake, starving, there's an energy, I think. Well, I think, go ahead, please. I was going to ask if you could talk a little bit more about your process of going from the page to the stage and when this play was produced, how it was, what your process was, maybe that comes to light. I work with the actors, so I'm not a director who stages. So it's very loose. I'm an organic and we just, you know, we take the text and we start working with it and exploring. And then always have things in the room. Well, in this case, we had a lake, so we had water, but a beautiful set of a jetty underneath the water.  The choreography, a lot of it was in the water. And you start playing with nets. You start playing with the visuals. So it's really a process of playfulness and creativity. The water was part of the set. Yeah. Yeah, but half the set was water, which was challenging to tour. We toured, we went to the Vienna Festival, we went to Graemstad and China's book. But it's not that difficult to... I'm sure, yeah, for South Africa, that was quite normal, but I'm sure, yeah. Yeah, it's quite easy to make the set like that. You might be surprised. So along with that, did you find, when you began to work with the actors, that any of the verbal text, the text that you had written, changed as well from their work when developing the piece? Did the actors contribute to the text of the play as they were rehearsing? You know, in all my other plays, yes, the big one says yes. But this was quite interesting because it was set in Kenya. The vernacular of the actors was not, you know, was South African. And so usually we improvise, we improvise in a vernacular tone, you know, in Cape Town, it would be sequoza. And because that was the case, they stuck to the English on the script. So they didn't really add in this case. But in all, all my other work, they do, do, we do add in rehearsal. Yes. I haven't seen your other work. Do you use drummers often? Because it's amazing. The question was if Flora uses drummers or other types of musicians in her work? Yeah, well that, I mean, that was amazing of Pongile. But I mean, he just, you know, we've only had a couple of hours rehearsal and he was able to bring that to, I sent him the music we used, but he really improvised his own music. So I quite often, yeah, use music and drumming and percussion. Depending on the play, I mean, I have more realistic, naturalistic plays that wouldn't use that. But in the sort of African storytelling traditional play then we often use music and drumming. And you have just written a new play, which is getting its premiere in Grandstown. So tell us about that one. When you say I've written it, it's still on first draft phase. And that's a personal story. That's a story actually based on my parents. It's about a woman with manic depression or bipolar. And a man who spends his life trying to fix her. And then there's a third character who's a friend who's a psychiatrist, professor in psychiatry. And so I've been spending a lot of time with Dr. Bauman, who's a psychiatrist at Volcomberg in Cape Town. And really exploring this notion, or it's not a notion, is this order of bipolar disorder, which is something that I think is diagnosed.  But the actual disease of bipolar manic depression is very, very serious. And so I felt that it was important to explore what that is and how a family lives with it and how the person themselves lives with it. So it's very rich territory to write something that's funny and alive and and so painful. So it's brand new. So I can't even say I've written it yet. It's going to happen. You have to fly to Gramstown to along with two other of your plays that are being produced at the same time. It's a Herculean effort over the course of 10 days. I have a play called Sopang, which explores a story of infant rape that happened in South Africa. It's a huge, huge and horrible thing that happens. Huge, when I say huge, is the scale of it. 20,000 child rapes are reported a year. And then another one called Kuru Moose, which is a magical, realistic type crazy story of a moose that runs through the eastern Cape and there's children who are looking for a happier, better place. But it's, again, a social story where the father sells his daughter to pay off her gambling debt. So those are social, but they're some terrible and I sound very dark, but all of the plays that I write have a certain amount of hope and light. Well, I wanted to end by telling you a quote that came from a mutual friend of ours, Rachel Chanoff, who is a cultural producer here in New York and indeed around the world, and she says about you, the thing that I find extraordinary in Laura's writing is that she embraces and illuminates the deep, sweet humanity of her characters and fearlessly exposes their darkest impulses as well. She brings such a gorgeous generosity to her leadership at the Baxter and also to the world of her plays. It's not lovely. Thank you for being with us tonight. Thank you for joining us. Thank you. Can I say, can I quickly please say thank you to Penn for having me here and their generosity and thank you to very courageous cast through themselves. And also to Lila who was my assistant and to Nina Swart who did the videography and who's here helping us today to put it all together. Thank you so much.