Tetrogramminton Writing the first book, I mean, I think so many artists will say this, it was probably the most creative, fulfilling experience, because you're not really thinking about the outcome or the result. You're like totally swept up in the magic and lost in the

moment and like, you know, that source is just like working through you.

And then even when my professor said, like, your book is not going to get published.

Like nobody publishes poetry.

Nobody reads it.

I was sort of unbothered because I really, I guess, wasn't interested or didn't really care for it to be read

because it was something larger working through me that was like, well, I just want to say it.

So then I just self-published it and I said it. And then what happened afterward was just so beyond my control.

This book became like a machine and got so noisy.

You know, it was like on the New York Times bestseller list for 100 weeks from selling like millions of copies.

And I was like 22, 23 years old.

And it was amazing and then equally traumatizing.

Yeah.

And then it was like all of the outside voices come in.

And you're like, there was just no, I guess, space.

And I was still graduating from university, and I don't know

when or how it happened. I think it's always like not maybe one big thing, but a lot of small

things. But yeah, it became about sustaining whatever it was being at the top of that. And,

you know, I remember signing my second book deal was like a

two book deal. And I signed it like November 2016. And they said, okay, we'll need the draft

of your second book by January 28, 2017. And I was like, that's not even six months. Wow. And, you know, I like lock

myself in the room and I started to create in a way that was not organic to me because I remember

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