SWAP-A-THON 2024: Floaties for Krakens

Episode Transcript
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Speaker 1 (00:24):
Hey, cool friends, it's me Adrian or Aiden. Either way,
I am still your host and you are listening to
the twenty twenty four swap Athon. So you may have
heard me mention previously that each week in the month
of December, I am doing a feed swap with a
show that I enjoy that I think that you would enjoy,

(00:44):
which means another podcast and myself are teaming up and
we are sharing each other's episodes. So I just wanted
to jump on and let you know that this week's
feed swap is with Floaties for Krakens. I hope that
you enjoy today's episode, and thank you so much to
today's swap a Monster for agreeing to do this. I
hope that you enjoy this episode, this treat, and I

(01:05):
hope that you have been enjoying your holiday break. I
cannot wait to see you all in the new year.
Until then, one more time, please enjoy this episode.

Speaker 2 (01:32):
You know, we still need the stories, whether we read
modern novels or not.

Speaker 3 (01:37):
Yes, sorry, you know, we need that connection, whether it's
with our elders or with our kids.

Speaker 2 (01:43):
You know, we pass these stories on as something.

Speaker 3 (01:45):
Precious for me personally. It's probably just the unknown you know,
I've always been drawn more to the unknown and whatever
that beyonds of normal of normal life. So I would
actually go out and look for these, you know. We

(02:07):
would go to hanted houses, we would go to hanked
areas of the cities. See what's going on, you know, No,
whatever that comes from, I don't know, but but it
kept life interesting.

Speaker 2 (02:17):
It was almost like an escape.

Speaker 3 (02:19):
Definitely underscape family life was not a happy life, so
that was an escape called definitely.

Speaker 4 (02:37):
M Hey.

Speaker 2 (02:57):
Welcome to the Floatings for Crackets podcast. I am your
host Camille Maria Costa, and it is a brilliant day
to be monstrous high cuddlefish. Welcome, Welcome back to Floats
for Krakens, the super incredible, amazing Queer Pride special. Yeah, Welcome,

(03:23):
Happy Happy June first, Happy Happy Pride Month to everybody
who celebrates, and everybody should celebrate because it's an amazing,
amazing month. And I'm just I'm just so thankful and
so like so elated, just so excited because it's such
a beautiful month. We've had so many incredible floaties. Family

(03:46):
that have been on the show that you know, identify
as part of you know, the queer family, whether that's
lgbt Q I I plus not binary right, like all
all everything, everything beautifully under the rainbow. So hi, thank you,
thank you all for being here, and I hope you
know there is always a safe space for every single

(04:08):
one of you here all the time, any given moment
of any given day, it is safe. Yeah. Also, I'm
outside right now because it's raining and I love the
rain and I feel like it's beautiful to be outside
right now. So take some time outside if you're not.
If it's safe outside where you are, get some water something,

(04:30):
somebody to eat, a nice sweet treat because you deserve it.
But yeah, welcome to our Queer Pride special Lavender for Monsters.
Lavender is such a beautiful metaphor in the queer community.
It's utilized in so many different ways, and it's a
big indicator of safety and kind of openness with one

(04:53):
another and just positivity, peace, love, just all of the
beautiful things that all bodies deserve. And I just love
the idea of a little monster picking a lavenderflower. So welcome,
welcome to our four part special. And of course let
me let me just I'm just so excited. I can't
wait to introduce the incredible, magical, magnificent Robin Gow. Robin

(05:18):
is a super super freaking hero. Robin is a writer,
an author and just came out with an incredible poetry
book called Monstrous Cartography. So I highly recommend everybody get it.
It's so amazing, it's so beautiful. Ah, I love it.
I love it so much, Please go support. But also,
all of Robin's work is kind of freaking incredible and

(05:39):
explores the ideas of monstrosity and otherness right, whether that
is queer bodies or just individuals that don't feel like
they fit in God and Fay is amazing. I just
I love, I love Robin. Robin, thank you so much
for all you do, for fighting for people and just

(06:01):
being such a beautiful light that individuals who feel lost
can go to and feel guided by. So yeah, thank
you for opening this amazing four part series. Happy Pride Month,
My beautiful cuddlefish go dance in the rain today, and
without further ado, ladies and cuddlefish, let me introduce to

(06:25):
you Puffs plus for Squonks. Well, Hi Robin again.

Speaker 4 (06:36):
Hello, I'm so happy to be here.

Speaker 2 (06:37):
I'm so lucky to have you here. Oh my gosh,
And let me just say again. It has been quite
a few rough, interesting weeks, and Robin has been so
incredibly patient scheduling this interview because my mind has been
all over the place. So I just want to say
thank you so much for your patience and kindness, Robin.

(06:58):
It means a lot.

Speaker 4 (07:00):
It's no problem.

Speaker 2 (07:01):
How are you? How's everything?

Speaker 4 (07:04):
I'm good. It's been a busy few few weeks or
months for me as well, so I've been all over
the place, but good overall, that's good.

Speaker 2 (07:14):
I'm so glad. And for people that may not know,
or they're the you know, first time listening to you,
who are you, Robin? What do you do? So?

Speaker 4 (07:22):
I write? I am an author and a poet. I
write books for like middle grade to YA audiences and
then also adult poetry books, and I do a lot
of other eclectic things as well. That's my main focus
for today.

Speaker 2 (07:38):
It's incredible. And what got you into the world of
writing and storytelling and poetry.

Speaker 4 (07:46):
That's a really great question. I think it's just literally
that like my family always tell stories. My dad, like
total my dad and my uncle told a lot of
like ghost stories and like scary stories as a kid. Yeah,
and they were always storytellers. Uh. And it's interesting because
like I didn't actually like write until maybe like third

(08:07):
or fourth grade, because I have some learning disabilities that
kind of make it a little difficult to write. But
even before then, I would like storyboard things to be
like this is my this is my novel. Yeah, so
I've always that's always been kind of me.

Speaker 2 (08:23):
That's awesome. It's always been in your realm. I guess
you could say, yes, yes, I think so. Can I
ask what kind of scary stories and ghost stories your
family would tell?

Speaker 4 (08:33):
Oh, my goodness, anything and everything, A lot of stuff.
We've always lived in very old houses and so a
lot of time. I mean, it's not great for a
young child to for sleeping, but like my parents, God,
my dad would tell scary stories like about our house
or about people who live there, or about like from
his own childhood. My favorite one though, is that there

(08:56):
is a there's like an old tannery building across the street, okay,
And he said that there is like like basically like
space aliens that like lived in the basement. And he
would tell this tale of these space aliens, like basically
like getting the different janitors to like become one of
their own people and so like, yeah, it's like very

(09:18):
I appreciate the way that like the stories that my
family told are usually about our area and usually like
either about my family or about things locally nearby. And
then my I think my dad also kind of embellished
some like true crime ish kind of things that happen
nearby as well.

Speaker 2 (09:36):
Yeah.

Speaker 4 (09:38):
Yeah, so so those are just some samples. Definitely a
lot of ghosts and just I don't know, scary things
coming out of the wall, and honestly there are a
little bit like scary for like a kid, but I
think like it helped make me who I am. I
definitely have always been. We've always read a little bit

(09:58):
above like our age level, like my dad was reading
me Kurt Vonneguet like in like maybe maybe like elementary school,
which is like a lot of it. A lot of
it went over my head. Sure is like I didn't
I didn't process a lot of it.

Speaker 2 (10:13):
But but yeah, oh that's incredible, and I love that
your family nurtured that in you and for you to
be like no, look at the beauty of words and storytelling.
And maybe this doesn't make sense right now, but still
you know, immersing you in that world is really cool.

Speaker 4 (10:31):
Yeah, I feel lucky in a lot of ways like that.

Speaker 2 (10:34):
That's really awesome. Oh my gosh, that's so cool. So
I guess the spooky has kind of been also in
your realm for some.

Speaker 4 (10:43):
Time now for sure. I remember the first story I
wrote in like first grade was genuinely like a zombie
story about me and my stuffed teddy bear, like helping
helping lay to rest, like like essentially the story that
I made up, which isn't that very original, but you know,
I was in first grade, was basically that, like I

(11:07):
don't know, some bad people in the town had killed
other people and the people were becoming zombies because they
hadn't ever like face had like a resolution to what
happened to them. And I remember my teacher being like,
I think that you need to cut that out. That's
a little too that's a little too adults. And I
was like, I don't know, it happens.

Speaker 2 (11:27):
Yeah, literally, Oh my gosh, that's incredible. That's so cool.
Oh my gosh. And like I mean, zombies, right are
so I guess, like, how can I explain it? Visceral monsters,
Like there's just like definitely, oh my gosh, you just
here feel all the senses with the zombie and that's

(11:47):
so intense for a little body. Oh my god. I
love that though. That's really really cool. I love that
you found almost a safety or like a solace in Yeah,
those stories, you.

Speaker 4 (12:00):
Know, definitely, And I think that, like, I'm sure we'll
keep talking about this throughout things, but I've always found
like comfort in like spooky or scary things or horror
in general. I think, like before because there weren't like
queer stories like when I was a kid. Really, I mean,
I'm sure that there were. I guess what I should
say is they weren't accessible like queer stories. I think

(12:23):
I always found myself like represented in like horrible horror
things because I feel like monsters are usually just like
manifestations of like otherness or like people's fears around like
gender or sexuality or any kind of stuff like that.
And so I always found like a connection to any

(12:43):
kind of monsters.

Speaker 2 (12:45):
Absolutely, Oh my gosh. Okay, And before I want to
ask you a question about that, but before we go
into that, what do you think a monster is, Robin?

Speaker 4 (12:53):
It's such a great question. I think a monster is
kind of kind of exactly that is, like something or
some some manifestation of otherness or scariness in so far
a direction that it becomes more than are extra human
in some kind of a way. Because but like at

(13:16):
the same time, I then I think about monsters that
are like like a blob monster isn't doesn't kind of
touch on that as much. But I still think that
there's this quality of like monsters generally have a consciousness
that's like not equivalent to like animals totally. They're always
like a little bit more sentient. And so I do

(13:36):
think that there is like this quality of like fear
moving so far that it becomes like an entity, if
that makes sense, which is vague, but yeah, I think
that that's what I would give definition.

Speaker 2 (13:52):
Oh that's powerful though, right, Like, I mean, it's it's
quite terrifying how fear can manifest Yeah, definitely, right, Like
it's I mean, the world is on fire right now, right,
And I think it's interesting to see this idea of
fear and how much power and privilege can come from

(14:13):
somebody calling somebody a monster for example, Right, it came
so loaded. It's a loaded word. But at the same time,
like you said, I'm just like you in the sense
of I growing up saw myself in monsters, right. I
still see myself in monsters, and I find peace and
happiness with them because that's us, right, It's like, oh
that's me, I see myself. It is. It's so complex,

(14:37):
but I think it doesn't mean we're not afraid of them.
It doesn't mean that they don't spook us, right at
some point. So I love that definition. That's a good definition,
thank you. Yeah.

Speaker 4 (14:50):
I just came up with it on the fly, so
or full.

Speaker 2 (14:57):
And of course, speaking of monsters, I am really really excited. Okay, everybody,
So I'm going to be linking all of all of
Robin's writings in the description box, but we have to talk.
I don't know if my light's too bright, but we
have to talk about monsters cartography. It's an amazing, amazing
piece of work. And Robin, can you can you tell

(15:18):
us a little bit about this poetry book.

Speaker 4 (15:21):
Sure, I've been calling it like in two words like
queer Sea Monsters. But essentially I did a lot of
just deep diving into sea monsters and how they are
written about from like fifteenth to eighteenth century, like maps
that different people who were sailing in the ocean, where

(15:41):
we're writing and creating, and there's so much like folklore
and history around how people were talking about sea monsters.
And I think that my particular interest for this book
is also intertwined with like the idea of like what
it means to be a queer person, because I found
this like relap with like the idea that sea monsters,

(16:03):
at least how they're talking about them, and these time
periods are like they're trying to put language to something
that is real, but like people other people haven't seen,
And so I felt like there's like some sort of
a like overlap there between the experience of being a
queer person and then also that that that like it's

(16:23):
hard to name what you haven't seen and then try
to tell people about it, which is where a lot
of the sea monster stories come from. You can tell
it's like a whisper down the alley kind of situation.

Speaker 2 (16:33):
Yes, it's, it's it's transmitted in a way. It's it's
passed down like folklore, is right, and yes, yeah, very
that can be again when your story is told not
from your your own words, not from your own mouth,
and then that game of telephone, right, it's it's it's
completely different.

Speaker 4 (16:50):
Yeah.

Speaker 2 (16:51):
Right, Oh my gosh, I love that. I And you know,
I want to go right into it because you've mentioned
it so brilliantly. But what have you seen? I know
you mentioned just now the idea of sea monsters and
their relation to queerness queer bodies, right, and I want
to talk to you about that, like where do you
see the relation? How do you see the relation or

(17:11):
how did that you know, birth itself in your brain.

Speaker 4 (17:15):
Yeah, that's a great question. I think that I think
that especially the relation. I One of the other branches
of myself is I do like a lot of community education.
I do basically like trainings on how to be less
terrible to LGBTQ plus people yes, and disabled people yes.
And I think there's this essay that's written by Jamison

(17:37):
Green who's like a trans educator, and he talks about
like how he sometimes feels like every time he tells
his story loses a little bit of himself because he's
trying to like make it like palatable or understandable to
like non queer people. It's sometimes when we do this
kind of work, it feels a little bit like I'm
trying to tell you anything. I can tell you so

(17:58):
that you'll see me as a human and like it's
important things, like people need to have those conversations, but
it also does feel a little bit like losing yourself.
And then there's the other I promise I'll end at
a point that connects to sea monsters keep going then
and then there. And then there's the quality of like

(18:20):
I have to use these labels because these are the
labels that I have access to. But also like some
parts of us, I think a lot of us also
just like want to exist and don't also like always
feel like in love with the way we have to
like use language to like express these things. I think

(18:40):
like there's this like impulse for people to like want
to deeply understand every nuance of a person and why
they identify the way that they do or stuff like that.
And I always feel frustrated with that like obsession with
trying to understand why, because I'm like, if you are
you are, it doesn't I don't really know why. And
then with monsters, the overlap being there's a lot of

(19:05):
like there's first of all, there's so much fear around
the when sailors are telling stories about these sea monsters,
like there's a lot of fear around it. And I
think that whenever there's like panic or fear, like I
immediately do think about like queer trans people or really
marginalize people in general, because people who essentially this is
like a watered down version, but there's this quality of

(19:27):
like people who don't know any trans people being making
up these ideas and stories that spin out of control
about like who we are and what we are. And
I think the same thing happens with like the sea
monster thing, because really sea monsters are like just you know,
animals in the ocean. They're just whales or stuff like that,

(19:48):
and like these stories spin so far out they are
manifestations of like all these sailors or people's deepest fears
about the unknown. And I think that that's oftentimes people's
fear is with marginalized people is like you are pushing
on your existence unfortunately, is like pushing on some kind
of an unknown, and people are really uncomfortable with the unknown.

(20:10):
I mean, I think that trans people are like a
key pressure point because it's a question of like what
does it mean to be a gender? And people don't
want to think about that, right, panic, and so they're like, right,
they must be evil. It's like, no, we probably need
to like unpack that.

Speaker 2 (20:25):
Yeah, oh my god, absolutely so beautiful. And I mean, obviously,
you know, I never want to undermine the pain because
you're right, it's it's painful, and it's it's complex and
it's layered and it's difficult. But I also find such
beauty in your words of seeing yourself. Yes as well,

(20:46):
you know to me, right, like sea monsters and especially
those ancient beasts that exist forever. Right, that idea of
that monster constantly being in people's mouths, right, is beautiful
to me. And it's like like like a powerful, powerful
right entity that could eat men and could you know,
take them down, right, Like there there is this gorgeous

(21:09):
quality to them. But at the same time, Mike, like
you said, right, it's it's all based on fear of
the unknown, things that people may not understand, things that
people choose not to understand, right, and just push away
fearmonger that that whole nine right, And gosh, I think
that's such a beautiful, beautiful parallel. And I love, I

(21:32):
just I love this book and it's it's so good
and like, I just love I love the way you
write because this is my This is the first work
I've read of yours, and I love the way you
write and one of my favorites. I wanted to talk
to you about it. That's okay, put you on the spot.
I really really love cea Devil a lot. I love

(21:54):
the painting of the I just I love it. I
love this idea. I just I'm obsessed. I think it's
so brilliant. And I just love your use of metaphor.
I love your use of pain. I love this use
of identity and trying to to search for it and
find it an escape.

Speaker 4 (22:15):
Right Yeah. Yeah, And I think that that is like
a question that I'm exploring in the book too, is
like you feel like you're always trying to be pinned down,
and then there's also like this impulse towards like trying
to slip out of that somehow. And I think that
that's definitely one of the points of like interest for
me with the monsters is like they do feel empowering.

(22:37):
They feel like it feels like sometimes being the monster
is like, Okay, this is like what you think I am.
Then like I'll be that thing and I'll talk to
you in that voice, and you know, explore that deeper.

Speaker 2 (22:50):
Yes, yes, Oh it's so beautiful. It's so lovely. I
can't wait. I'm gonna link it down below. Everybody get one.

Speaker 4 (22:57):
I appreciated.

Speaker 2 (22:58):
No, it's so incredible. It's such it's such good work.
I love the artistry too. Oh, the illustrations. It's just
it's great. It's so great.

Speaker 4 (23:07):
Yeah. My partner actually did the cover. Really is that cool? Yeah?

Speaker 2 (23:13):
Right, is that correct?

Speaker 4 (23:14):
Yes, he does horror watercolor art, and so it really
I don't know a good easy crossover.

Speaker 2 (23:22):
That's you all were made for each other. That's perfect. Oh,
that's so cool. That's so amazing. I love it. Great read.
Thank you so much for writing it, because it's important
and people need not only to hear it, but I
think there are so many people in the world that
can relate. So I think it's wonderful. Yeah, thank you. Okay, Well,

(23:45):
jumping over to another type of monster because I am
so excited to learn about this guy who is the Squonks.

Speaker 4 (23:57):
The Squonk is a creature of basically like Woodland, Pennsylvania.
He has lots of wrinkles and looks kind of like
a little pig. Is known to have like a really
droopy face, and probably the biggest identifying quality that he's
listed as having is like he's always crying. He's like

(24:20):
gushing tears, and you can follow the tears to try
to find him in the woods. Some of the folklore
around him. Says that it's actually really interesting because it
has like an environmental like the story always has an
environmental spin to it in that it's said that he
comes he migrated up from the south because of like logging,

(24:40):
like the forests are being destroyed, and so the Squonk
moved into Pennsylvania because of the deforestation. So that's the
story behind why he's there. But he's first written about,
and there's like a like a Weird Creatures of Pennsylvania
book that was published in the like I think late
eighteen hundreds, early in eighteen hundreds, but the stories, but

(25:03):
the stories about the Squonk are much older and kind
of exists in a lot of small towns, particularly in
like northern wooded Pennsylvania. And uh yeah, yeah, that's the
Squonk and it's such a sad little guy. But I
but I love that because one of the reasons why

(25:24):
I specifically love like cryptids is because I do find
them it's they're usually and I love monsters, but they're
usually depicted in a little bit more of like a
uncertain territory. It's like we're not sure if this is
like like what their intentions are. And I think that
it just really like speaks to like queerness in general,

(25:45):
like I like like uh so, but specifically the squonk,
I just I feel like there's something, there's something very
sweet and like sad about his story.

Speaker 2 (26:00):
Yeah that's a squawk, Yeah, sweet little quonk. And you
know you you mentioned this already, but for people that
maybe just don't know what a cryptid is what And
I know these guys, just like monsters, are so hard
to define. But in your in your words, in your eyes,
what do you think is a cryptid?

Speaker 4 (26:18):
I think it's a creature that may or may not
be real, has not been proven either either way. And
I think they're very similar to monsters in that they often,
I mean, they often emerge around some kind of a
fear or like curiosity. And I think if you find

(26:39):
any cryptid or you'll you'll find you can follow it
towards some sort of a societal fear or something like that.
But I think that with cryptids, there is that there's
a little bit more of the unknown because there's like
this creature could actually be real, and so when a
creature could actually be real, there's like a the way
people interact with it is just like very curious. So yeah,

(27:01):
that's my crypt definition.

Speaker 2 (27:03):
I love that, Yes, absolutely, And there's, like you said,
this kind of air of like we don't know if
we can believe right this story or the sidings by people,
let alone the actual being. So there's a lot of questioning,
there's a lot of not believing right, there's a lot
of shutting people down that or the being itself right.

(27:26):
And you mentioned too that this squank, oh gosh, it
has like ties with like the logging industry and things
like that, deforestation, what have you. And I find it
so fascinating how cryptids are almost always related to the
environment in some way, you know.

Speaker 4 (27:46):
Yeah, definitely, and usually like speaking towards something that's wrong
with it or something that's like painful that's happened within it.

Speaker 2 (27:54):
Yes, painful, exactly that, Yes, And I find that so fascinating.
And I don't know, I feel like they're also many
depictions of them is also being like these warning signs.

Speaker 4 (28:09):
Right, Yeah, definitely right.

Speaker 2 (28:11):
Like, I know you've written work on Mothman, isn't that correct? Oh?

Speaker 4 (28:15):
Yeah. I love Mothman and his story is very very
similar in that, like he's always usually like a harbinger
of something bad and then like his connections to like
the is there some sort of a like dumping site
or something in a point pleasant Yes, And so there's
that like environmental tie there too.

Speaker 2 (28:38):
It's fascinating to me, And I don't know, I just
feel like they're always misunderstood in every story you ever hear,
and I found it so beautiful. I think, if I'm
not mistaken, Robin, the first time at least on like
social media or like in pop culture that I saw
the relation between cryptids and queerness was through Mothman. I

(29:01):
think that was the first time I saw people being like, yes, right,
like Daddy Mothman, and like finding yes so cool.

Speaker 4 (29:11):
There was an essay published a lot not maybe not
that long ago, but maybe like twenty fifteen where somebody
was writing about how he connected to Mothman as a
gay man, and I think that, like I think that
there was always a relationship, but I think that that
kind of opened the floodgates and I've I've loved that.

(29:34):
I think that the community has really like taken to
finding solas and a lot of a lot of these
creatures in a new way recently, more than ever.

Speaker 2 (29:42):
Yeah, why do you think that is? And like I
know you right, like you talked about it at the
beginning in terms of your relation with monsters or specifically
see monsters right and quarness, But why do you think
it's become such a safe place?

Speaker 4 (29:57):
And Well, I think it's like a reckoning or like
a embracing the unknown about ourselves. Like I think that
there is like something really beautiful about that. Like my
favorite definition of queerness is by jose Esteban Munos, who
who says that queerness is like not yet here. And
I just think that that's such a beautiful definition and

(30:19):
there's some really deep connection with that definition and like
monsters or like cryptids specifically, and that like they represent
a question of is this real? And so I think
that that draws queer people in and when you and
you know, you see all the fan art of the
monsters and like, yeah, depict them as sweet or caring,

(30:41):
and like I think it's a way of like being
caring towards that part of yourself that you're unsure about
or like that unknown in general.

Speaker 2 (30:49):
Monsters are like a beautiful way to I feel like
explore shadow work or like right, like it's like an
I don't I mean, I don't know the psychological reasoning
is behind it really, but I don't know. I just
feel like very difficult conversations, maybe traumatic experiences or what

(31:11):
have you. There's so much easier to digest or communicate about,
like through metaphor in general. But like I think with monsters,
it's like so so much easier to paint a picture
if this monster, for example, the squonk right, like this
squonk is crying. It's having a really hard time, for example,

(31:32):
and it's like kind of exploring like, well, sometimes I
feel like a wrinkly little crying squawk. Yeah right, and
it's interesting and safe, but like to explore it that way, I.

Speaker 4 (31:43):
Guess you know, Yeah, definitely I agree with everything that
you're saying. Yeah, it gives space for those feelings and
makes them feel ironically like less scary.

Speaker 2 (31:54):
I think, yes, yes, absolutely, it makes you feel you know,
I love In the beginning, when you were saying, like
the definition of monster and how you were saying almost
like double the humanness or like this idea of extending
the humanness as well, because too much, right, And I
don't know, I feel like it's so hilarious how we

(32:16):
learn how to be more human through monsters. Yes, if
that makes any sense at.

Speaker 4 (32:21):
All, No, I totally see that.

Speaker 2 (32:25):
It's fun. It's fun to talk about that stuff. Yeah, okay,
So so back to the squonk and this idea of
him them crying right, like trails of tear, Like that
is such a profound thing to happen to anybody. Why
Why do you think tears are a huge indicator that

(32:47):
either the squonk is around or why do you think
that is a huge whether it's a defense mechanism or
just a natural right why?

Speaker 4 (32:55):
I mean, like this is getting like philosophical, but I
do feel like it's like an early manifestation of like
climate grief, if that makes any sense, like a grief
around like human destruction, or like I feel like the
squonk like bears the weight of like the forests in
that like he I feel like that that's why he's sad,
because like that that that story about him being like

(33:18):
a displaced, being like already and then like living in
this forest and probably feeling like unmored a little bit.
I think that he like bears that weight because you
have to ask, like why would animal like keep like
always be crying yes, yes, And and then like people's

(33:39):
desire to find the squonk in the stories that I've
read about it is fascinating because usually people are trying
to like hunt an animal, but it's almost meditative, but
but not for the squonk, Like they're not trying to
hunt him. There, it's like almost like meditative to be
like I'm curious about finding the squonk, or like people
are warned to like not go too close to the squank.

(34:00):
So it's almost like in that way also kind of
like a manifestation of like I think that in specifically
like a United States context, like people are really uncomfortable
with like grief and like I so I think that
there's like the two pieces of the like the climate
grief thing, and then also the like the way people
interact with it is like I'm not sure if you

(34:21):
want to go so far as to follow the tears
to like this creature that's holding that yes, yeah, and
like it's it's it's it's so interesting because he looks
so silly, but it's very profound, like very profound. I
always joke that he looks like I have two pub dogs,
joke that they are squank like they look like it. Yes,

(34:45):
it's wrinkly little babies. And my one dog is always
crying and so she's like definitely a scross.

Speaker 2 (34:51):
I love that. That's so true, And like, I mean,
Unpacking Grief Ray is just a whole whole other show.
I feel like grief in any way is just so
complicated and so difficult. Not everybody does it the same way.
I don't think two people can grief the grief the
same way. And I am so fascinated by this futuristic

(35:13):
not futuristic present idea of climate grief of you know,
I mean, it's so heartbreaking and so terrifying to think
about the state of the environment in the world and
what can happen in just a year and seeing that
go and seeing that die right before your eyes. And

(35:34):
I think we've seen very many renditions of the idea
that right like climate change isn't real and like X,
Y and Z, and I feel like a lot of
that is fear. I feel like a lot of that
is not wanting to face that grief, not wanting to
face the reality of the situation.

Speaker 4 (35:53):
Yeah, for sure.

Speaker 2 (35:54):
And I love that idea of the squank acting as that,
you know, facing face that reality, facing that grief head on,
you know, yeah, oh yeah, which breaks my heart too because.

Speaker 4 (36:07):
And maybe you shouldn't have to do that alone, you
know what I mean.

Speaker 2 (36:11):
And like, maybe I'm getting philosophical too, but I think
it speaks a lot to you know how you mentioned
Robin kind of the weight and the responsibility placed on
queer bodies to explain themselves, right, to have to prove
themselves and be like, no, this is who I am
and I shouldn't have to approve it or explain it

(36:33):
to validate it to anybody. And I feel in the
same way, the squonk is holding all this responsibility improving
and grief and holding other people's ugly feelings. And I
don't know, like, I feel like that's another that that's
so heartbreaking to me that they have to have that responsibility.

Speaker 4 (36:53):
Yeah, And I think that that happens for a lot
of a lot of other cryptids. If we just like
continue that as like a crypto holding like a the
responsibility of like, uh, whatever kind of a issue that
they're at the intersection of, or like whatever kind of
a fear they're pushing on. They they they're kind of
holding on. They're they're born out of that space of

(37:16):
people not being able to face the thing.

Speaker 2 (37:20):
Mm hmmm, mm hmmm. Oh, it's it's it's wild to me.
And I know you said too that there have been
a few stories that you've read or listened to about
the Squonk and how people search almost ritualistically, right, like, yes, meditative, meditatively.
Are there any stories that have stuck out to you

(37:40):
with the Squonk and that could be something you've heard
or maybe even in pop culture. I don't know if
the Squonk exists, Yeah, but I'm very curious.

Speaker 4 (37:49):
I don't know how much the Squonk exists in pop culture.
I think that I think about him so much that like,
I think that he's more well known than I think.

Speaker 2 (37:57):
He actually is.

Speaker 4 (37:59):
But some of the ones that I read, specifically from
some of those early guides are usually like a father
telling a story to like a son, which is also
an interesting dynamic and usually kind of like it's usually
like a cautionary tale is to like not follow the tears,
because there's also this idea that if you follow them,
you might get like stuck like and you might be

(38:22):
wandering like the squonk, like stuck in the woods, wandering
like the squonk, which is so fascinating because you know,
that's just like so clearly related to like not expressing
grief too much and like not And then and then
the fact that it's usually told to around boys. I mean,
I've never read a story that I had to do

(38:43):
with girls. There's something about like in the storytelling something
about masculinity there too, which is just it's just all
very fascinating. But that's usually the course that the stories run,
is like a father or somebody telling something to younger
people to be like to be aware of it. And
also I think it's related to that general thing that

(39:04):
don't go too deep in the woods. You know, that's
like most most monster stories have some element of like
you shouldn't go too far in the woods. That part
is like, you know, I get that, but but then
it's sown with these other other contacts and stuff. I
love that.

Speaker 2 (39:21):
Oh I never thought about that either, this idea of
kind of repressing your emotions and that can happen in
a lot of toxic masculinity, right, And that's so interesting.
And I mean, I I for one, I love monsters
that grief, that cry. I think there is something so

(39:41):
haunting about that. I did a lot of research and
work with the Weeping woman with in Mexican. Oh yeah, yeah,
love her. She's my girl. And you know, I gosh,
I I learned so much. I think about my Mexican hair,
but most importantly like my father and kind of that

(40:04):
toxic masculinity that he had to deal with. And I
mean I've seen him cry what twice like in my
whole life, And much like we were talking about earlier,
I think it's interesting how these narratives and these monsters
that outwardly cry, that outwardly express their emotions can bring
that out of you. Yeah, right, like in so many

(40:27):
different ways.

Speaker 4 (40:28):
In a lot of ways, it's like like again, like
burying that weight of a lot of pain and like
feeling it. While for people who can't feel it too,
like I kind of see that a little bit.

Speaker 2 (40:39):
Yes, yes, they hold it, they represent it in that way.
I think the one story I had ever heard about
the squonk was very similar to yours about this idea
of somebody, you know, searching for it or hunting it
or what have you. And the thing that I remember

(41:00):
is somebody did catch it, but when they got home
and opened the bag or the sack, it was just
a puddle of tears, I think, which is fascinating too.

Speaker 4 (41:11):
Oh yeah, it's elusive. It's a little bit like a
almost like a leprechaun in that way, and that like
you can't really catch it. I think that people in
these stories usually get drawn to being like, I have
to find this because I've been following this for so
long and then never being able to take that that
creature all the way home.

Speaker 2 (41:31):
Oh my gosh. Yes, And I mean, and that's that's
crazy too. I think if we think again about this
idea of the environment, yes, you're also robbing this creature
of a home.

Speaker 4 (41:43):
Yeah for sure. Yeah, I don't know.

Speaker 2 (41:46):
I find it, I don't know. And when we really
think about it, the idea and the concept of monsters
and home, the sense of home and the sense of place,
is very interesting.

Speaker 4 (42:00):
Yeah, definitely right.

Speaker 2 (42:01):
It's almost like, I guess, animalistic in quality in the
sense of like protecting maybe territory or like don't come,
don't don't you know, pass this border or what have you.
But it's so interesting and almost always I feel like
somebody's sense of place, that that trust is broken, somebody

(42:22):
breaks in, destroys it right doing stuff that humans should
never be doing. And then that's you know what starts
the scary story, right like you infiltrated my home and
I'm protecting it and this is my space, or or
you know, the monster is searching for a home, is
searching for their place of origin, which is interesting and

(42:44):
I think you know, many people can can relate to
that idea too.

Speaker 4 (42:49):
Yeah, And it's also interesting then too that like we
paint the monster usually in stories as like the bad thing,
you know, like even though the story is so clearly
appointing to the fact that like this creature is displaced
or like it was people's fault, that it's it's the
way it is, and yet it's still like even when
I think about like sary movies or these or these stories,

(43:12):
the monsters like is always still like the antagonist and
the person is is the protagonist. Then there's not usually
a reversal. I can't really think of an example, at
least at least for the squonk or anything that I
can think of a lot of a lot of that
reversal of seeing like the reckoning with the fact that
like humans made the monster in some kind of.

Speaker 2 (43:35):
A way, of course, and like it's always a humans
definition of what a monster is, right, and they never
really get the chance to be able to talk about it,
to be able to have the language, the privilege of
the language to talk about who they are and why
they exist. You know, I was just watching that the

(43:59):
old twenty fourth seen Planet of the Apes the other day.
Oh wow, yeah, So, I mean, you know that story,
and that story has been you know, utilized in so
many different ways and in different avenues of art and things.
This idea right of the human kind of befriending an animal, right,
a monkey in this case, and there there's obviously really

(44:25):
horrible humans, uh duh in this world that misc right,
mistreat the animal and call them monsters and make them
into monsters and x y Z. And there's this really
heartbreaking moment in the movie where there's two monkeys, right
that are that know how to communicate and have seen
two sides of humans. One of them grew up with

(44:46):
a very loving human that gave them everything, and one
grew up being abused and tortured by humans. And it's
so heartbreaking to be like that. You see this monkey
hate and want to kill and want to never be friends,
be right with humans. And it's because he learned hate

(45:06):
from humans, right, He did not learn to love, He
did not learn kindness and generosity and any of that.
All he's ever known was hatred and pain. Yeah, And
I think that's a very profound way of thinking with
with what humans get to decide as monstrous. They have

(45:27):
so much control in that way. It's horrible, it's terrifying.
And if you grow up your whole life thinking you're
a monster, then you're a monster in that in that context, right,
the monster, right, the bad the bad monster that people
want to paint you as. It's horrifying.

Speaker 4 (45:47):
Yeah, definitely. Yeah. And I mean like just such a
direct parallel with like the experiences of just like multiple
different marginalized communities, because when we think of like the
common narrative is usually like people are depicted as monsters,
forever pushing back against anything like at all, Like you're

(46:07):
expected to like be essentially like a perfect victim in
any kind of sense. And I think that so much.
I mean all of our history. I mean, I think
that there's change happening, but always written by like the dominant,
dominant force, and that that practice is so related to

(46:28):
this in that like in the story of the Monster,
in that like, people are made out to be monsters
for responding to what happened to them.

Speaker 2 (46:37):
Oh, it's so heartbreaking. It's so horrible, you know. And
you're right this idea of pushback, right like, Oh, suddenly
you push back. You're a monster, You're the bad guy,
you're the antagonist in this narrative or what have you.
Even though they're just maybe defending their home, maybe they're
defending their will to live, their right to live their existence,

(46:59):
just trying to be you know. Oh gosh, it's it's
so heartbreaking. You know what that reminds me of too.
Have you ever seen Para Norman Robin No?

Speaker 4 (47:11):
I haven't. I've heard it's very sweet, though, Should you I.

Speaker 2 (47:14):
Feel like you would love it. I don't want to
tell you, okay, I don't want to give anything away
because there is you know, some great reveals in there.
I was just gonna say that story I love narratives
in which you think you know who the bad guy is, right,
you think you yeah, oh yeah, this is the monster whatever,
and it's like, oh no it's not, no, it is, yes.

Speaker 4 (47:38):
I do.

Speaker 2 (47:39):
I like.

Speaker 4 (47:39):
I like that too, especially when then the monster is
like the actual monster in the society and not the monster.

Speaker 2 (47:46):
Yes, yes, absolutely absolutely, And I don't know. I I
really wish there was a book or a movie or
something that existed in which cryptids uh got to tell
the story finally.

Speaker 4 (48:01):
Yeah, yeah, for them, I think I think that their
times will definitely come. I think that there there's got
to be there's got to be some some more cryptied
told stories.

Speaker 2 (48:14):
There has to be. Well, you know, why why do
you think the squonk exists? Robin? I know we've talked
about it in so many different ways, But why is
that story? Why is that creature? Why is that monster? Why?
Why is this entity's existence so necessary?

Speaker 4 (48:34):
Yeah? I mean I think that it's born out of
like both a lot of the things that I that
I've talked about in terms of like curiosity about like
changing environment, people's fear of changing environment, and I think
that people, I think that it's the story must be
born out of like also a curiosity a little bit,

(48:54):
because there is that idea of the trail and like
the idea of following the trail. So I think that
that he comes from curiosity, which isn't necessarily like a
bad impulse. Like I don't think he's a monster that's
totally demonized, sure, And I think that I think that
there there's something really beautifully human about that that trying

(49:14):
to put a name or a face to your curiosity
about unknowns or about in this case knowns about like
following grief, and then unknowns about the forest too, because
especially in like northern Pennsylvania, it's it's not necessarily like Appalasha,
but it's like definitely connected to that history of like

(49:36):
a reverence or a fear around like the deep wilderness
and like you know, a rightful fear. And I think
that's along with that is also like the the trying
again like that reverence towards the forest too because like
it'll kill you, you.

Speaker 2 (49:53):
Know, yes, yeah, very very much.

Speaker 3 (49:55):
So.

Speaker 2 (49:57):
Yeah, Oh that's beautiful. I don't know that that's that's
so wild. Yeah, that's so beautiful. And why do you
think why do you think the squonk has made such
a presence in your life? Why you know, I always
find it so like beautiful when yeah, people have a monster,
right that they really love and how they see it

(50:19):
come back throughout their life or throughout such for example,
as an artist, right, it's like, oh yeah, I always
have to do art around you know, this this character.
I see writers that are like, oh yeah, I always
have to write about this monster, right, Like why do
you think it's been made such a presence in your life?

Speaker 4 (50:35):
Yeah? Well, I mean, like at a very basic level,
like I'm a cry baby, Like I cry a lot
and see and so like when I heard about the Squonk,
I think that that was my immediate connection is like
as somebody who cries a lot, like being like aw,
like he gets me. And I think that that that

(50:57):
I think that understanding the story of the Squonk also
like how me find meaning in like the ways that
I feel deeply because it's again it's not something that's
like readily embraced to be like very emotional. And so
I think I find a lot of like comfort in
a monster that like his whole thing is like he's
consumed by his emotions. At least that's how I interpret

(51:21):
his crying like and so I think that I think
that that's like why I love him and I find
a lot of like comfort in in him. And I
actually have I've written two pieces of that are about
the Squonk and like characters interacting with the Squonk. Yeah,

(51:43):
they haven't come out yet, but I have, Like I
have a children's picture book that's about a young a
young trans boy who is a cry baby and like
wants to find the Squonk as like a you know,
like there's a creature that's like me. He has a
lot of brothers, and so he kind of feels like
he's very like, you know, effeminate. He's not very rough,

(52:07):
and so I think that like the same reasons that
he connects with us longer the reasons that I do.
In that like it's a feeling of not being alone.
It's a feeling of like there is something kind of
almost magical and like powerful that you can connect to
in that way.

Speaker 2 (52:25):
That's so freaking beautiful, Robin, I'm trying. It's beautiful. I
mean as as a fellow EmPATH, as a fellow I
will cry on command for anything, and as a person
that definitely got bullied growing up for feelings too much, right, Like,

(52:47):
I you have a superpower, right like you have nobody
can feel like you do, and that is so rare,
especially in a world that is so quick to hate and.

Speaker 4 (52:59):
Is so quick yeah cold, definitely.

Speaker 2 (53:02):
Right and responding with emotion and responding with kindness, and
you know, you feel so much about something that you
you literally magically make water with with your right like
that's yeah, it's very beautiful, so beautiful. Oh, I can't
wait until you that book comes out. I am very excited.

(53:22):
Please let us know because we're gonna pilaster it everywhere
because that sounds absolutely beautiful. And I also love the idea.
I mean, granted, I don't know where you're gonna go
with the story, but I I just love the idea
that they have each other, right, they can recognize each
other and see each other and exist with each other.

(53:45):
I think that's so beautiful. Oh I love it.

Speaker 4 (53:50):
I love the thanks.

Speaker 2 (53:51):
Yeah.

Speaker 4 (53:51):
I think that that's definitely like a theme that I've
carried in a few of my like writing pieces, because
that's like this The Heart of Dear Mothman two Basic,
which is my middle grade book, is really just about
like finding a connection with a monster. And I think
it's just really back to like myself as a kid,
like I was often like very lonely. I didn't have

(54:12):
like a lot of friends, and I think that I
was pretty heavily bullied. And for me, like I found
a lot of like refuge in like monster stories and
making up monsters and like like I had invented like
a whole uh, I don't know, like mythical world on
top of my world and just like those things that

(54:34):
you do to cope with that, Yes, And so I
write stories that are you know, touch similar, similar experiences
because that's what I know, and.

Speaker 2 (54:45):
That's beautiful and people need it, you know, you need
to tell your story and talk about it because so
many people can find solace in your bravery and being
like oh my gosh, like somebody else felt that way too.
I'm not alone, I'm not different in that way. I
can exist as myself. I don't have to change, you know.
That's rare, and ah God, I love I love kids

(55:08):
that grew up with monsters. I love it. I love it.
I feel like there's something we can all share in
some way. And I'm sure our minds were dark and
weird and so wacky, but in the best way. And
I think you said it perfectly. That idea of a
coping mechanism very real, very very real. So I mean,

(55:31):
you know, kind of branching off of what you just said, right,
why not just cryptids, not just the squonk? But why
are monsters so important? Why? Why should we keep talking
about them? Why should we keep writing about them, creating
art with them?

Speaker 4 (55:45):
Right?

Speaker 2 (55:46):
Like? Why why should they continue to exist?

Speaker 4 (55:49):
I mean, I think it's about that, like reckoning with
the fear. Like I think that we need to reckon
with the things that society is afraid of, and answers
are usually like that, that ability to reckon. And I
think sometimes it's easier most to talk or find your
way to a conversation through a metaphor, because yeah, I

(56:11):
mean I think that that's why humans are like enamored
with metaphor and symbol is because it's it's so it's
so hard to talk directly about the thing.

Speaker 2 (56:22):
So yeah, okay, please tell everyone what just happened just now.

Speaker 4 (56:28):
So the Transformer blue and like everything in my house
went totally dark, and I'm like very superstitious and so
my like media impulse was like, oh my gosh, we
talked too much about monsters, like something something wild has happened.
Obviously it was just a transfe we're blowing, but it
would definitely made me be like, oh.

Speaker 2 (56:48):
My god, maybe sorry and then I misspeak.

Speaker 4 (56:53):
I'm sorry it did we di misurpresent you No.

Speaker 2 (56:56):
I think what was so crazy too? Is I mean,
on my end froze after like we all need to reckon,
and then like it froze, and I was, my gosh,
I was like, oh my god, yes we do, yes,
we do. Do we need to Oh my gosh, well
continue continue, I'm so sorry.

Speaker 4 (57:14):
We were totally fine. Yeah, I guess I guess what
I was saying is like needing to reckon with the
thing that the monster is, you know, putting pressure on,
and monsters really giving us that that space to be
able to do that. And I think that there will
always be new monsters and that monsters will always cycle

(57:37):
in and out of like relevance. Like a monster I
think about too. It's a lot. It's not as related,
but like the vampire, I think about a lot, and like,
oh yes, the reasons why the vampire becomes like relevant
again and again and usually it's like slightly different, but
there's always some sort of a tie to like sexuality
or like some sort of a panic around that, And

(58:00):
so I think that that's just a case study, and
like monsters are always going to be important for having
a place to work out our like fears or whatever.
Society is like rappling with at.

Speaker 2 (58:11):
The moment, as you mentioned reckoning right, and yes, a
safe space that many many people may not have in
any other way. Yeah, oh, I love that. I think
that's beautiful. That's so great. Okay, well get into the
complicated ending questions. But do you think that the Squonk

(58:35):
is scary?

Speaker 4 (58:37):
Not at all? I find I don't find like most
scary things like scary. Yeah, so I'm not always like
the best person to ask, but I like what, like
I talk about horror movies, I'm like, that's my comfort movie.

Speaker 2 (58:53):
I go to sleep to that every night.

Speaker 4 (58:55):
Yes, but I do I don't think the Squonk is scary.
I think that if anything, I feel like he's a
little bit inviting in terms of like, but that's just
because like everything he represents are like things I want
to talk about, and so like I don't find I
don't find him scary.

Speaker 2 (59:12):
I love that it's it's it's normal, he's Yeah, I
just feel in a lot, that's all. And those things
don't have to be scary.

Speaker 4 (59:20):
Yeah, definitely. I mean I think the other thing that
that makes me think about is like we were talking
a little bit about how like feeling too much is
often like, you know, really not looked at well, or
like people are really mean to people who feel too much.
And I think the reality is like people who feel
too much or air quote like, it's also like a

(59:40):
natural reaction to the world, and sometimes it makes you
feel like completely unmoored when you're like, why isn't everyone
else like feeling this? And I think that that that's
another reason why I like, I'm not scared of monsters
or things, is because it's like it's making tangible the
thing that like it's hard to make tangible.

Speaker 2 (59:58):
Yes, yeah, are like physical emotion, Like they are the
embodiment of all of these things that are not talked
about or not you know, it's something that you're afraid of.
I mean, you're so right, and that's so fascinating. They are.
They are the difficult things, they are the uncomfortable things,

(01:00:19):
they are the scary things for some people, right, and yeah,
it's amazing you know. Okay, well, do you think Robin
that the squonk is a monster?

Speaker 4 (01:00:33):
Yeah, I definitely think so, just based on like his
qualities and such. He's he's definitely, uh, he's definitely scary
to other people. And I think that some of the
qualities of the like manifesting the scary things that people
are afraid of, definitely give him a monster quality. And
then some of that like luring people a little bit

(01:00:54):
with the trail of tears a little bit like there's
there's some sort of a like pulling you into a
darkness with which is great, but definitely it's giving monster
to me.

Speaker 2 (01:01:04):
Yes, yes, absolutely, and it's amazing. I mean, like especially
with your definition, right, it's it's also that idea of
things don't really grow unless in uncomfortability, right, like growing
and changing. It's it's it's important, it's natural, but it's
hard and can be messy and ugly and strange and emotional,

(01:01:27):
and I think the squank does that beautifully.

Speaker 4 (01:01:30):
Yeah, I agree.

Speaker 2 (01:01:32):
Okay, Well, last question. Unfortunately, even though I know we
could probably talk about this for like eight hours, you know,
we don't want to blow any more transports anything like that.
But say you're just chilling, just relaxing, having a lovely day,
and all of a sudden, I don't know if the

(01:01:53):
squonk would knock. I don't know how they would make
themselves like appear to you. But for whatever the squonk
appears to you, what would you do? What would you say?
How would you react in that moment?

Speaker 4 (01:02:09):
I think that I react probably similar to the way
I react when I see any other kinds of wild animals.
I like want to give it it's space. Like uh,
I guess, I guess that that's probably how I would
interact with it. Like my my impulse is always to ask,
even just like wildlife like questions about the universe, because
I feel like they have so much wisdom. So I

(01:02:31):
probably try to get some sort of information from a
visitation from the squonk, but I would also try to
really give it its space. I like, I used to live
in like more more Woody, Pennsylvania. Now I'm more like farmland.
But when I would walk, I would often see like bears.
Oh yeah, I know, And like I think i'd probably

(01:02:56):
interact with squank a little bit similar to that. In
that like you're like, okay, like this is yours. I
am going to be nice and I don't think this
squak would hurt me or anything. I think I just
like encountering like any kind of a honestly any wildlife. Again,
like I feel like they're you know, there's some sort

(01:03:16):
of a like universal like divinity within all beings, and
so like I want to be like kind to that.
And I would definitely try to resist the impulse to
follow it too, because I don't know if it would
want that. Like I wouldn't want to like make it
feel watched, because I think that when you were respect
an animal or like a creature, like that's when you
can form the best connection. So I try to be

(01:03:37):
very nice. But if I knew where it lived, I
would definitely like leave little offerings for it. Like that's
just like the witch in me is like I don't disperspect,
but I might leave a little bowl of like apples
or something. I imagine it probably likes apples.

Speaker 2 (01:03:50):
Oh who doesn't. Who doesn't love a good apple. It's like,
here are some lotion filled Kleenex for you, some basoline,
some elotion, just to I know, crying takes a lot
out of your body. It's like, here's some water. Yeah,
for sure, recharge your little body. Ah, that's lovely. And

(01:04:11):
I think again talking to this idea of the environment
into animals and just just let them be right, like
let them live and exists, and you can respect that
and you can love that, but you can also do
that from afar really and that's important. Maybe I give
them their space. I love that, Robin. That's beautiful. That's

(01:04:34):
so lovely. Oh so amazing. What are we channeling? What
are we doing?

Speaker 4 (01:04:55):
I know, I'm like, oh my goodness, I haven't had this.
It's like I don't know the monster activity going on.

Speaker 2 (01:05:04):
I love it. Hopefully, hopefully it's all been all and
good fun.

Speaker 4 (01:05:08):
I believe it is.

Speaker 2 (01:05:10):
Yeah, me too, Me too. This episode of Floats for
Krakens was written and recorded by Me, Camille Maria Costa.
A monstrous thank you to Robin Gao for such a
kind interview, a big thank you to Michael Kosman for

(01:05:32):
producing a stellar episode, and a huge thank you to
Natalie Hedberg for designing such a phenomenal logo and music
for the show was also written and produced by me,
with a special appearance by my Tata topia Costa. Thank
you all so much for tuning into today's show. It
truly means everything to me. If you have questions or

(01:05:54):
curiosities about the research or media referenced in today's episode,
everything will hopefully be in the description box. You can
find us on our website or our socials links in
the descriptions as well. Anyway, thanks again for being here everyone,
and just a reminder it's okay to be afraid of
the monster, but it's also okay to love the heck

(01:06:16):
out of it too. Keep being monstrous and keep shining bright.

Speaker 1 (01:06:34):
Welcome back with friends. Thank you so much for tuning
in to this year's swapathon. I hope that you are
enjoying this. I know that I am not on my
feed right now, but you can always find me on
social media at sustal podcast on every platform, or by
visiting my website at www dot susopodcast dot com. Additionally,
you can send in your own stories that you would

(01:06:54):
like for me to share in a Letters from the
Beyond episode in the new year. You're already to know,
how did you send me a I am on social media?
Send me an email to SUSO Podcasts at gmail dot
com visit my website and contact me there, or leave
it in a five star review on Apple Podcasts or
a comment on Spotify. Thank you so much. I will
talk to you in the next one and until then

(01:07:14):
note this bye.

Speaker 2 (01:08:00):
S

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