Pretty: A Memoir

In this episode, we explore Pretty by KB Brookins, a powerful, award-winning memoir that confronts identity at the intersections of race, gender, and perception. Drawing from personal experience and Black queer studies, Brookins reflects on what it means to navigate the world as a Black trans masculine person in a society that is quick to define others.

Pretty moves between tenderness and critique, examining both the beauty and the harm embedded within traditional ideas of Black masculinity. Through deeply personal storytelling, Brookins reveals the tension between how we see ourselves and how we are seen, and the emotional labor of resisting imposed identities.

Join us as we discuss themes of self-definition, belonging, and the ongoing process of unlearning. This episode highlights how Pretty is not only a memoir, but also a call for recognition, understanding, and change.

Transcript

SPEAKER_00 0:00

Pinya Soul Podcast with Dr. Jessica Hernandez. Welcome to the Pinya Soul Podcast. In today's episode, we're discussing Pretty by KB Brukens, a deeply moving memoir that explores identity through the lens of race, gender, and perception. KB reflects on what it means to exist in the space between how you define yourself and how the world defines you, especially as a black trans masculine person. The book blends a personal experience with cultural critique, offering both a challenge to traditional ideas of masculinity and a powerful call to change. Today we will unpack how pretty reshapes conversations around identity, belonging, and self-definition. Thank you for listening and we hope you enjoyed this episode. So hello everyone. Today we have the honor of interviewing KB. I'm really excited that your new memoir is coming up entitled Pretty. Do you want to tell us a little bit more about that memoir and what it was writing that and letting that out into the world?

SPEAKER_01 1:07

Yeah, um, by the time this comes out, it will be out. So happy, happy birthday, pretty. And it was, you know, an experience of me trying to write a book that I couldn't find on the shelves. I'm black and trans and from Texas and um also very uh interested in exploring masculinity, very interested in, you know, finding other folks that have similar experiences as me. So I was trying to find earlier in my transition like a book that could kind of teach me about these new things that I was experiencing because like the way that I physically looked changed, and then the way people treated me started to change, but I couldn't necessarily find a book because the kind of dominant trans narrative is that of a white trans person, and then also the dominant kind of black quote unquote narrative is that of like cisgender, mostly straight, right, audience. Um, I wanted to be kind of both at the same time on the page as I am in life. So yeah, it's been I I had a big learning curve because I am kind of like more of a poet by trade, right? But like, you know, took it upon myself to learn the art of creative nonfiction. I've been very pleased with what I've been able to learn and and now teach as well. So yeah, it's been a great experience.

SPEAKER_00 2:22

Yeah, and the cover is beautiful. It's like one of the favorite, you know, my favorite covers that I have seen thus far. And one of the things that I also noticed in your memoir is that you often return to images, right? Especially images of physical spaces, whether it be mud, dirt, everyday environments like homes, the Texas heat that you've referenced a lot in classrooms. And I guess I wanted to know how do these physical spaces shape identity and memory for you?

SPEAKER_01 2:49

Oh, that's a great question. Um, yeah, it it shapes identity and memory so viscerally because when I think, and you know, creative nonfiction and memoir in particular is about like you kind of pillaging your mind for memories. And often, even if I can't remember the exact words that were said, I often know what things looked like and how they felt. So much of our memories are tied to a specific place, right? So I think that especially with me having experienced trauma, like sometimes trauma can like um hinder you from being able to remember the particulars because your mind is like trying to, you know, shield you, right, from the things that hurt. But inevitably, um, I can get my mind going when I can think of place. And when I, you know, recall my childhood, I think it matters a lot to me to relay, you know, Texas in the ways that I have known it, because I recognize that like policy and cultural-wise, Texas does not have a positive image right now, right? Because of conservative conservatism and then also because of gerrymandering, right? So people think like, oh, Texas is this like backwards place. And I'm like, well, this is a place where I have so many memories of my life that are both positive and negative, and I want to bring you into right, like what it's like to physically be there. Because that the fact that, you know, the events of my life happened, you know, in this state that I spent so so many years of my life in, like, matters to me. Um, and I think also I just feel drawn as a reader to like writing that is more like place-based and more specific because I want to get, you know, a view into a place either that I know or that I don't. So I aim to write the way that I also enjoy consuming. Um, and then I also think as it relates to identity, the place from which I come from definitely informs me down to like the way that I speak, right? The way that I carry myself, my value systems, um, the ways in which that I was, you know, my coming out story is like, I feel like particular to the place that I grew up in. Because, you know, if I like lived and grew up in New York City, I feel like it would be different because the cultural landscape is a bit different there. Yeah, it's it's enmeshed, I think, um, in the story for me.

SPEAKER_00 5:06

Yeah, thank you for sharing that because yeah, I do feel like, you know, even living in Seattle or living in cities, but also now having my family live in Arkansas, right? Oftentimes these states teach us a lot about what it means to be out in the real world. I often tell everyone, right? Like if you live in a city, you're living in a bubble that's kind of protecting you. But in these other spaces, you have to do more to survive or even be yourself. And going back to your memoir, right? The title pretty, I think that one of the quotes that kind of stood out to me, especially just given how I felt like it was connected to the title, was and you wrote, When I was femme, my prettiness was cancelled out by my blackness. When I was butch, my prettiness was seen as invalidating by my masculinity. Who taught us that masculinity cannot be pretty? Who taught us that blackness was devoid of prettiness and delicacy? And I guess you point out these dualities that blackness, especially in this society, is often not seen as pretty. And when you're masculine, you're not seen as pretty. So my question is, why are they treated as opposites, especially when you're integrating blackness as an identity? And how does your writing help us push against that narrative that has been indoctrinated in our lives?

SPEAKER_01 6:20

Yeah, that's really large. Yeah, I think even like the word pretty has like a kind of like quote unquote feminine connotation. But like I think that with this book, right, um, and passages like the one you just read, thank you. Think what I'm trying to say is like, why am I to when I think of pretty, right? I think of like things like softness, I think of things like cherished, I think of things like, you know, something that is like a sight to behold. And I'm like, why is this uh kind of emotion, right? Why is this marker only meant for like femininity? Why can't it also be synonymous synonymous with masculinity? And you know, because I'm a writer, words matter a lot, right? And the ways that we use words ultimately like influence the way that we go about our lives, right? So many books out about that, right? So just trying to point out, I think with that particular quote, I'm trying to point out for a reader the ways in which we use words like matter. And then also like just like with my experience, even like of politics and culture, which I talk about a lot in pretty, um, and how those things have influenced my personal experiences, like I have seen a disparity with like relationship to blackness and with like desirability, right? Even you know, the most gorgeous woman you've ever seen, right? Um, who is a celebrity and who is black, is going to have a different, almost like uh baseline, different like uh fan base than like all those same things, but a white person. Like literally, I've just seen it so much throughout my lifetime. So pointing out that like, even if you don't say it out loud, like anti-blackness shows up, right, in the things that people like, like the media that they consume. It also shows up in these ways that we treat each other, right? So I think that when I was presenting more feminine, I saw the kind of differences in the way that I was treated versus others of other races, trying to point out that, you know, everyone should have access to this term and the things that we associate with that term, right? Which is someone to be safe, someone to be cherished, someone who is allowed to be soft. Like I shouldn't have to have a hard exterior and an interior just because I present masculinely or just because I'm black.

SPEAKER_00 8:36

Yeah, thank you for pointing that out, right? Because I think it's something that we can all want to learn, especially given that oftentimes beauty or prettiness is often associated with Eurocentric features, right? That whether it be blue eyes, green eyes, curly hair, and things like that are often to make a lot of our youth not feel pretty enough. And um, going back to living in Texas, right? I know that Texas is an oil state. It's known to be the oil state of the United States where extraction shapes both the land and the loss, oftentimes. How does being trans inform the way that you think about the environment, especially living in Texas, where extraction is one of the pillars of the state and why the state is has so much political power and weight in the whole country?

SPEAKER_01 9:23

You know, that's really interesting. And surely like the parallels are there. Cause yeah, you're right. Like if you drive through Texas as I have millions of times, right? Like you see the oil rigs, you see the extraction happening in real time. And like I hear the stories also and have read those stories and watch those stories on screen of like how um like the pollution from this kind of pillaging of the land has negatively impacted people's lives. And I do think like in very similar ways, trans people are kind of like pillaged of their rights, right? Like in this state as well as others. I think in um the trans legislation tracker, um, which I keep up with, it was like 43 out of 50 states like attempted to pass some kind of anti-trans law like last year. So these kinds of things are like on the rise, right? And it doesn't help that you know we have uh legislators, right, in the state that believe that they have the power to take from the land as well as take from individual um citizens like their rights to a happy and healthy life, right? And the land's right to being able to be like separate from like the needs or wants of humans, right? So yeah, I think the ways in which my transness maybe influences my experience maybe of the environment or understanding of it, I think is like I would rather not, right, somebody try to tell me what's right for me, right? Um try to make a decision on my behalf for my health, for the activities that I can do for the places that I can go. And similarly, I would like the environment to be able to like exist outside of you know the whims, right, of the economy. Because ultimately it is like, okay, it's an oil state because like it drives a lot of our economy in the same way that you know I live in Las Vegas now. Um, and like tourism drives a lot of that economy, right? So for that reason, um, people seem very reluctant in the state to like changing away from that. But I'm like, the the earth is a finite resource, you know what I mean? So like at some point you're gonna have to stop that. I think that it just I care a lot about sovereignty. I care a lot about like people being able to make their own decisions, and like very similarly, I don't think that I'm uh better, right, than this finite resource um that is the environment.

SPEAKER_00 11:44

Yeah, thank you so much for sharing that. And we didn't know that you lived in Las Vegas, it's also very hot there. So those are some of the parallels between Texas and Las Vegas. One of the things that I admired the most about you is that you have this series called Trans News That Doesn't Suck. I don't know if I have the title correctly, but I love how you bring joy into conversations, right? Because especially in nowadays, like the gloom and and despair narrative that is lingering in this country can make us feel hopeless and sometimes feel like we cannot do much. I was wondering if you can tell us a little bit more about the series and what inspire you to create that series that you know our entire collective loves to listen to. We have subscribed and we like to read it. What inspired you to do that?

SPEAKER_01 12:30

Thank you. I appreciate that. Um, yeah, I mean, it was honestly a very offhand thing at first. Like I was like, I need to be posting videos more. I'm very anti-video actually. Like, I would rather be texting my thoughts if I am to be online and then getting off. But I was like, okay, I'm I'm gonna try to embrace like video. Well, what would I make videos about? And then I was like, well, my whole timeline is just like negative news related to trans people all the time because I know my algorithm is set up to like upset me, right? But basically everybody's algorithm is intentionally showing you stuff to piss you off, so then you like are on the app longer. So I was like, I see this happening, but surely there has to be like positive stuff as well. And then when I found the positive stuff, it just like was such a disparity for like interactions in the uh place of like comments, shares, all of that stuff for like negative stuff versus positive stuff, it could get like very buried. So I started doing trans news that doesn't suck first, it's just videos like 60 second or less videos of like one positive news story related to trans people that you maybe missed because it's been like you know, decompressed or whatever, de-emphasized on your timeline. Um, and like from the first video, people seem to be like interested in it, commenting, liking and things. And I was like, oh, okay, surprising, because this was just like a thing I was doing on the side. And then I turned it into a newsletter. So now I do both of the videos every other week and then the newsletter every week. And the newsletter, the newsletter is like a list of positive news that I just see on uh online once a week, and it's really cool. I think it's pretty cathartic for me too, because then, like, especially when it's a hard news week and I do my searches and I can still find good news. I've been doing the newsletter every week since April 2025, and I've never been able to not find something positive. Um, like usually the newsletter is like 15 plus things from like all around the world that are just related to trans people and that are positive. And it is reinforced for me that like all is not lost. Because also when people feel like, you know, everything is negative, then it can lead to apathy, which means you're just like accepting the status quo, right? And like I think my newsletter also aims to like push against that impulse for us to be like it's all over, to be like, no, it's not actually like there are positive things happening in the courts, positive things happening in media, right? This onslaught of anti-trans everything, right, is because there are more positive media depictions of trans people. And some people are really invested in resisting because they resist like what they can't understand, right? So, like showing people in this newsletter, I'm hoping is like pushing against that feeling of like despair, those feelings of apathy and also those feelings of like negative cortisol, right? That we all are subjected to all the time. Like it's nice to have something in your inbox that is completely positive. Like, I'm never gonna be like, this is negative this week, like it's always gonna be positive. So I'm hoping that it's something that people can look forward to as well.

SPEAKER_00 15:38

My next question is that you have been writing poetry for a long time, and I wanted to ask you how have you seen your work evolve, especially as it has reflected your experiences and um coming from Texas, right? And now that you're living in Las Vegas, do you see any differences and how have you evolved in your poetry, especially as you've grown older and gotten to know yourself a little bit more?

SPEAKER_01 16:00

Yeah, yeah. That's a that's a great question. Um, so yeah, you're right. I have been writing poetry for a while. I started writing poetry when I was 14. Yeah, uh, I don't know what my concerns were at that age. My guess is like, oh, I'm talking about some girl that won't text me back, and I'm also talking about my issues with like my gender and sexuality, but not necessarily having those words at the time. And I think, you know, those earlier KB poems were definitely more like I'm just trying to figure something out. And I love that I have this outlet where like I cannot have it all figured out. Um, that's the thing that like initially really drew me to poetry. Like, I can talk about those things that you know maybe uh I consider taboo, right? And I can also not come to the poem with an answer, like it can just be like a further exploration of questions, and I think that has really sustained my interest in poetry over time as well. Like I turned to poetry too to like learn something about how the world works, to sit in like discomfort when I read other people's poems too. And like, I think, you know, at first it was just about like the love of the game, right? Um, and then later, you know, in my college-aged era, I think it started to like meld with my social justice practices. So, like trying to figure out how I can make poetry one of the tools that like moves the needle on causes that I care about. Um, because I saw other people doing that and I was very excited by it. Um, in the first time, you know, I ever learned things about like environmental justice, but also Free Palestine. Like I learned those things at like a poetry open mic, actually. It can be like um like conduit for education. So then I started to, you know, write poems about blackness and and went to school also right before the first Trump presidency, right? So like everyone was kind of having these quit like conversations on campus about like a post-racial society, blah, blah, blah. And I'm just like, we are not in that, you know. Also, writing poems kind of about those things and melding my personal experiences with like politics and culture, which I think I I like still do. And my first book, uh, How to Identify Yourself with a Wound. I'm talking a lot about personal experiences and Freedom House. Um, my full-length poetry collection, I'm I'm talking about social justice issues as well as you know, issues of identity, right? And I think now I've had some years of like learning the history of poetry. So now I think that's definitely made me a better writer, right? I'm just like knowing what has happened, so now I know like what traditions I'm writing into, and also like just freshening up my language, right? And I think, you know, today KB the poet. I think I moved to Las Vegas about about eight months ago. Um, and now right after this, I'll be moving to uh Oakland. Um, and you know, have a full-time job and such teaching uh creative writing now, which I'm very excited to do. But I think my writing has changed because it has become uh over time more communal and over time more engaged with the history of poetry and also engaged with like today's social justice issues. And I imagine that that's gonna be a thing I continue to do.

SPEAKER_00 19:15

Congratulations on your new job. The Bay Area is beautiful. Like I went to school there and I miss it, but it's so expensive now. Has there ever been a poem that was hard for you to write? Like, you know, I often think of writing, and sometimes when there is like something very difficult for us or very emotional, heavy, we stop, right? Has there there ever been a poem where you encounter that as well?

SPEAKER_01 19:38

Many times. I feel like like, yeah, there are those poems, but I feel like it's almost rare now. There are those poems that like just flow out of me, just fall out, right? And then there are more often those poems where I'm like, okay, I wrote a first draft, but I know this is not finished, you know? And or like poems where like right while I'm writing the first draft, I'm like, I feel like I'm missing something, right? More recently I was writing this long poem that's like maybe four pages, and it is like documentary poetics, right? So like engaged overtly with like a historical fact, right? And a thing that happened in my hometown. This thing called the Rainbow Lounge Raid, which actually was like a raid of a gay bar that happened when I was like in middle school. And I'm like also writing about like I'm writing about the history of that event and also writing about my personal experience of it, like being a middle schooler at the time. Um and then also like the reverberations of that event. And it was hard for me to figure out the melding, right? And then also hard for me to like remember the details or like maybe reckon with the emotions that I felt at that time versus like now. Shout out to the young adult writers because I'm like, oh my god, like not projecting your like adult voice onto like a kid voice is like actually really hard. So I was having issues with that. But I think no, what got me on to the other side of drafting it, I think, was study. Cause at a point I was like, okay, I literally just don't know enough, so I gotta go like do some research. And then also with patience definitely helped with just being like, okay, maybe this is not the exact word that I want for this, but I'm gonna write it now, I'm gonna move it on, I'm gonna move on, and then I'm gonna like replace it with another word when another word comes to me. Like sometimes poetry for me, well, oftentimes poetry for me is about like being patient with myself and trusting that I will figure it out, even if I can't figure it out right now. Um, and that's the thing about creativity in general. Like, you can't you can't summon genius right when you want it. Like it just has to happen when it's gonna happen. So I had to be okay. Like, and I worked on this poem for probably on and off like a year. Like it was a long time of me like trying to figure it out. And I had to grow a bit as a writer, I had to remember some more things, I had to learn. Some more research, but I ultimately also had to be patient and be like, okay, maybe this is not gonna figure it itself out like right now, but eventually I will figure it out, and I think I did figure it out finally.

SPEAKER_00 22:11

That's cool. I I didn't know that um that was a form of poetry and also that it can be four pages, right? Because I think we're used to just reading short poems here and there, but that's amazing that you're writing about that. One of the poems that I did read that really caught my attention was the one entitled My Therapist Called It Climate Despair. And I think that um it caught my attention, right? Because it kept on bouncing between, I will say, opposites, right? Like talking about melting down in public and then going quiet in private. And I guess when you were writing it, how were you thinking about the body, whether it was being seen, being at risk, or just trying to hold it together, especially given that there are so many opposites that are in integrated into that.

SPEAKER_01 22:52

You know, thank you. Not enough people ask me about that poem. Um, yeah, uh, I think with that poem, what I am trying to kind of get at, right, is like how something like climate change, right, might impact like someone on a human level. Cause like when we say the word climate change, it feels well when we say this phrase, like it feels so large. And like even when you say something like racism, homophobia, like these are concepts. But like then when you bring it down to like a human experience and the human cost of it, um, ideally then it becomes more approachable, right, for our audience. And I think poetry allows us to create that moment. Um, what I was really trying to do is be like, okay, I have had at different times in my life had this feeling of like despair around climate, even like, oh my God, everything's gonna like I'm not gonna have a future. Like all of those thoughts, right? Like I've had before. But I was like trying to put it into like a moment in one's life. Um and using the tools of poetry like internal rhyme, like imagery, like, you know, the compression of language in order to do that.

SPEAKER_00 24:02

Yeah, thank you for sharing that. Because I think that the title caught my eye. And also when I was reading it, I was like, this is amazing because you know, as a climate scientist, right? One of the things that scientists tend to do is make climate change, as you mentioned, something large that's far removed from the individual lens. And this is why sometimes people don't care about climate change because they're like, oh, it's not necessarily impacting me, but through this poem, you're basically telling the audience, yes, it does impact us, especially in Texas, even though Texas is one of those states that is anti-climate now, because of obviously the politicians. So your book is coming now. What is one thing that you you look forward, especially like let's say if there's one teaching or lesson you want readers to walk away with after they read your memoir, what would that lesson be?

SPEAKER_01 24:49

Hard to quantify that into one thing. Uh I would say, you know, because I recognize once I put a book out, right, like anybody can pick it up. So I hope that those who have similar experiences as me feel seen, feel like they're not alone in their experiences. Um definitely I felt that way at different points in my life, and I hope that this book can be a bomb to those people who had, you know, experiences of, you know, anti-blackness, experiences of transphobia, experiences of religious trauma, abuse, and things like that. I hope that people who don't have similar experiences as me can be open to receiving, right? This is what it's like to be someone like me in this like modern time. And I also hope that both of those audiences feel something at all, right? Laugh at one of my jokes. That would be great. You know, feel that, sit in that, you know, maybe indignancy that you might feel. Like, oh, this really upsets me. Like, I've felt that way while reading books before, and I think it's taught me something, right? So opening yourself up to the range of emotions that it might make you feel. Because that's that's my intention, at least, to like make someone feel anything at all. And then once they have that feeling, do something with it.

SPEAKER_00 26:08

Yeah, thank you so much for sharing. Because I know it's it's hard sometimes to say one lesson that you want folks to take away, but I think those are important lessons, right? And I guess to end it, do you want to tell us more about the cover of the book? Because like I told you at the beginning, it's like it's a beautiful cover. Did you have any creative control on how you wanted the cover to look like and and how the title and everything was gonna be embedded into the cover?

SPEAKER_01 26:32

Yeah, so pretty, funnily enough, has two different color covers. So there's the hardback cover, which is like the yellow kind of gray that is like what do you call it, like drawn. And then you also have the paperback cover, which is more of a green, purple, pink scale, and it's like a a literal picture of me versus like a drawing, right? And I think with the uh yellow cover, I mean, I was very like insistent about like this vision that I had. So I sent like some pictures, right, that they could make an inspired like illustration of. I also had this like long Google document that I wrote up, wrote up of like, okay, this is the color scheme, and this is why I want like a warmness to the colors. I want, you know, uh a face on the cover, specifically a black face. And there's this like whatever that people believe where it's like if you have like a black person on the cover, then you'll sell less copies. I was like, okay, that's fine with me, you know, like as long as you know, people opting in, right, are like really opting in. And I know I wanted like a eyes closed image too, because that feels to me like when I'm like breathing in and out, I tend to like close my eyes when I'm like at peace or trying to create peace in my body, I'm like, my eyes are closed. So I wanted that kind of feeling to the book, and then actually I think it's like a bird, right? Like flying off of like a tattoo that I have, and that feels a bit like uh we're going on a journey together, which I appreciate. And then with the other cover, the paperback cover, which is which came out April 28th, the paperback officially. That was actually a pitch from the publisher. They were like, We like this picture of you, might you want it to be the cover? And I was just like, I don't know, like blah blah blah. Like I had all these reservations about like literal me being on a book cover, but I was like, I think it's okay. Like, I gotta get over this like shyness. You with a memoir, you kind of are not allowed to be shy after a point, you know. Uh, people are reading it for the craft of the writing, but they're also reading it for your story. Um, so it's like a what do you call it, exercise in vulnerability for me. But then also uh that picture in particular actually is inspired by a poetry chat book that I put out um called How to Identify Yourself with a Wound. Um, and it has this kind of uh a kid version uh of me with like band-aids, right? Um, to signify kind of wounds gotten over life, right? And those wounds being healed, right, through the process of writing this book, through the process of revisiting those wounding moments. And uh this image of me also has these band-aids, but then also has a flower crown to signify kind of like a more, what do you call it? Like a maybe a more triumphant like feel, right? But it but then also it's like in this book, pretty, I'm also talking about maybe those like hurting moments, but talking about it in a way where I'm moving towards healing as well.

SPEAKER_00 29:32

Yeah, thank you for sharing that because there was definitely a lot of um creative control, right, that went into the cover. And I think I personally think they're beautiful. Like that is what caught my eye. And I guess to end this amazing interview, I wanted to ask you if 10-year-old KB or 8-year-old KB were to pick up this book, what do you think they will say if they saw themselves in the cover?

SPEAKER_01 29:54

That's for me. Um, well, first they'd be like, Oh my god, like 10-year-old me was just so wide-eyed, I think, and very green to everything. So I think, especially with the like more uh illustrated version, I think young KB would have been like, Oh, I like this book cover, let me pick it up, and then look through it and then be like, oh my god, so many curse words. I would have been scandalized, you know? Um, because I was still definitely in my like church going to church every week era when I was at that age. Um, because I had to be, you know. But yeah, I would hope that this cover would have invited 10-year-old KB to be like, okay, somebody close to me, somebody like me, someone who has my skin complexion on a book cover, let me pick it up. And yeah, yeah, I was definitely that kid attended like scout scout scavenging, that's the word, scavenging through the library, just picking up books that I thought looked cool. So I like that idea of young me picking it up because it looks cool and hopefully then getting something significant from it.

SPEAKER_00 30:53

Yeah, thank you so much for sharing space and your time today. Is there anything you wanna tell the audience or readers, especially as your book is coming out soon?

SPEAKER_01 31:02

Yeah, get my book Pretty Lemmy Award winning memoir anywhere that you get books. I prefer if you're gonna buy it online to get it from bookshop.org because that supports independent booksellers. Also, my newsletter that's been mentioned throughout here is transnews.substack.com. Completely free to get it once a week. You sign up. The pay subscription supports me on my journey of finding, you know, positive uh trans news, and then you also get an extra newsletter once a week. So yeah. Oh, and also uh follow me at Earth2kB on the social medias if you want to know more about me as a writer, and then also get my trans news.

SPEAKER_00 31:43

Thank you so much, Kevin. Thank you.