ALAN MOORE Senhor do Caos / Lord of Chaos

INTRODUCTION	ACKNOWLEDGEMENTS	INTERVIEWS	ARTICLES	GALLERIES	BIBLIOGRAPHY	LINKS	WANTS
INTRODUÇÃ0	AGRADECIMENTOS	ENTREVISTAS	ARTIGOS	GALERIAS	BIBLIOGRAFIA	LINKS	PROCURAS

Entrevistas / Interviews

LIBBY GINWAY

(CLIQUE AQUI PARA LER EM PORTUGUES)

by Jose Carlos Neves

Althought this one has almost not do do with Comics and much less with our preferred author,Alan Moore, I feeled obligued to publish it.Read it and you will agree with me. A very important "document" about Brazilian's Science Fiction and Literature.

Mary Elizabeth Ginway, or Libby as she prefers to be called, is an Associate Professor at University of Florida, in Gainesville, USA - the same city where the famous SF author Joe Haldeman spends his spring months when he's not teaching at MIT. She has been working on a book on Brazilian Science Fiction, an unusual topic (although some may say a non-existent topic at best), is a Brazilianist and a pretty woman,also!

-First of all,Libby, let's begin with some background--your age, marital status, number of children, academic degrees and current profession.

I am currently 44 years of age, divorced, one son. I have a M.A. adn Ph.D. from Vanderbilt University in Spanish and Portuguese, and a B.A. in Comparative Literature from Smith College. I have recently been promoted from Assistant to Associate Professor in the Department of Romance Languages and Literatures at the University of Florida. Previously I taught at Emory University for one year and was at the University of Georgia for three. I also taught Spanish language classes at Vanderbilt while I was a graduate student, and was also a Fulbright Scholar to Brazil 1982-83.

-How did you get started?

I am what is known (pretentiously, I might add) as a Brazilianist, because I have specialized in the literature and culture of Brazil, even though I have read the classics of the Portuguese and Spanish canon, and am familiar with the literary traditions of Spanish America. As I mentioned, my Ph.D. is in Spanish and Portuguese, languages which I have taught or currently teach.

I got started on the science fiction connection when I wrote part of my doctoral dissertation on the fantastic and "dystopian" fiction written during the sixties and seventies in Brazil, in which I discussed various works by J.J. Veiga, Murilo Rubião, Ignácio de Loyola Brandão, Chico Buarque, Herberto Sales, Maria Alice Barroso, Ruth Bueno, Mauro Chaves, and Plínio Cabral.

In the early 1990s I picked up Braulio Tavares's 1986 book "O que é a Ficção Científica?", and learned about the GRD (Gumercindo Rocha Dorea, the first publisher of Brazilian SF) generation. Here in the States, I dug up those works through interlibrary loan (a service by which one university library lends its holdings to another). I have been working with them since 1995. I used the dystopian novels from my doctoral dissertation as another manifestation of Brazilian science
fiction, and in 2000, I met with one of the editors at Record, Luciana Villas Boas in Rio, who contacted Jorge Luiz Calife. Calife gave me a list with the names and phone numbers of Gerson Lodi-Ribeiro, Braulio Tavares, Roberto de Sousa Causo, and Marcello Simão Branco, all of whom I met that same year.

Beforehand I had also read some earlier utopian works from the 1920s (Adalzira Bittencourt, Monteiro Lobato, Godofredo Emerson Barnsley and Rodolfo Teófilo), but realized that those works are part of a different project.

-What attracted you to writing? What were your influences?

I read "Le petit prince" in the sixth grade and saw that its meaning was beyond that of a children's story. My French teacher liked it and it got published (in French) in the school yearbook. The rest is history--success in French and Spanish, awards, praise, and I eventually wound up in graduate
school.

Thus I became an academic writer--or literary critic. I teach Brazilian literature and have published on Machado de Assis, Brazilian Naturalism, Brazilian Modernism in American academic journals. I can certainly say that several literary critics have been inspiring--Jean Franco, Antônio Cândido, Alfredo Bosi, Doris Sommer, Darko Suvin, Daphne Patai, Flora Sussekind, Nelson Vieira, Fredric Jameson, Vivian Sobchack, Gary K. Wolfe--although I do not have just one theory or school I adhere to. I also believe that my background in Comparative Literature and literary theory taught me alot. I love mythology and the classics and I depend on my knowledge of them as much as anything.

-How did you first become interested in science fiction? What are your earliest memories as far as that goes? Who are your favorite authors and why?

I didn't read much science fiction. Some of the Narnia works by C.S. Lewis as well as Washington Irving's The Legend of Sleepy Hollow were read to me in the second grade. I read Nancy Drew mystery novels, and later went through an F. Scott Fitzgerald stage. During the first two years of high school I had to read so many classics--the hero from Homer through J. D Salinger,then a course in the failure of reason and middle class values, reading the English metaphysical poets, Thoreau, Sinclair Lewis, on to Virginia Woolf's Mrs. Dalloway. At some point I also began reading Kurt Vonnegut. At that time, living in New York City, with that curriculum, ballet lessons and theatre productions, who had time to read for pleasure?

--As a child, did you spend a lot of time indoors reading? Was it just Sci-Fi and Fantasy, or mainstream works also?

I liked to read a bit of everything. As I mentioned I grew up in New York City, in Manhattan, and loved reading things like "From the Mixed-up Files of Mrs. Basil E. Frankweiler" about a sister and brother who end up living in the Metropolitan Museum and the "Harriet the Spy" series. I also remember reading a series of books about a Jewish immigrant family in New York that I liked, as well as "A Tree Grows in Brooklyn" about a poor family at the turn of the century.

-What about horror? Any preferences in that genre?

I mentioned Washington Irving above, but recall little after that. I went through a sort of Stephen King phase late in graduate school, probably as a way of finishing my Ph. D. , reading The Stand, The Dead Zone, but I am not a die hard. To tell the truth, I don't even know Poe that well. I did liked Wilkie Collins, especially his The Lady in White (1860), which I liked more than The Moonstone which is his most famous-- but these border more on mysterty than horror. Of the gothic I know them mostly through the movie classics of the 1930s: Wuthering Heights (Merle Oberon and Lawrence Olivier) and Jane Eyre (Joan Fontaine and Orson Welles), as well as Rebecca (again Joan Fontaine and Lawrence Oliver). Also I adored reading Frankenstein as a variation on the Prometheus theme in a college Comparative Lit. class.

-If you had to choose the ten best Sci-Fi books (in the whole world), which titles would you choose?

This is rather arbitrary and somewhat academic. H. G. Wells's The Time Machine, Eugevny Zamyatin's We, Huxley's Brave New World, Asimov's I, Robot stories, Pohl and Kornbluth's Space Merchants, Ursula K. Le Guin's The Lathe of Heaven, Phillip K. Dick's Do androids dream of Electric Sheep (Blade Runner), Kurt Vonnegut's Slaughterhouse Five, Marge Piercy's He, She, It, William Gibson's Neuromancer

I will cheat a bit and mention some Golden Age short stories: A Martian Odyssey, Helen O'Loy, Nightfall, The Cold Equations, and the New Wave or post- Tiptree's Houston, Houston Do you
Read and Delaney's story that takes place in Brazil..-."Driftglass." It's in the Science Fiction Research Association anthology.I

-And from the "mainstream "?

Anne Tyler's works (with the exception of her most recent ones) are among my favorites. I also like Larry McMurtry's Texasville Salman Rudshie's Shame, Tom Wolfe's Bonfire of the Vanities, Zora Neal Hurston's Their Eyes were Watching God, Proust's Les jeunes filles en fleur, Albert Camus's La chute, Toni Morrison's Song of Solomon, Viriginia Woolf's Orlando, James Thurber's humorous writings.
For light reading: early Sue Grafton and all Tony Hillerman mysteries.

I didn't mention any Brazilian authors on my list of 10 mainstream (I would easily have put Machado, for example--but since I teach an entire course on him, I consider him to be part of my WORK...not PLAY). I wrote what I read for fun, that's outside my field.

-What are you writing now? What have you published so far?

Right now I am taking a rest. Unlike fiction writers, academic writers write because they have to.
As I said before, I am an academic writer; my book is "Brazilian Science Fiction: Cultural Myths and Nationhood in the Land of the Future." It has been accepted by Bucknell University Press, and is being typset at the present moment, and will most likely appear in the beginning of 2004.
My published articles include:
"Fictional Trends in Brazil Under Military Rule." The Brazil Reader. Ed. Robert Levine and John J. Crocitti. Durham, NC: Duke UP, 1999. 248-253. "Nation Building and Heroic Undoing: Myth and Ideology in Bom-Crioulo." Modern Language Studies 28.3, 4 (1998): 41-56. "Iaiá Garcia: romance de transição na obra machadiana." Hispania 78.1 (1995): 33-42. "The Metaphor of Engineering in J. Veiga and Murilo Rubião." Brasil/Brazil 9 (1993): 46-56. "Traços do discurso épico em Iracema de José de Alencar." Homenagem a Alexandrino Severino. Ed. Margo Milleret and Marshall C,. Eakin. Austin, TX: Host Press, 1993. 135-47. "Surrealist Benjamin Péret and Brazilian Modernism." Hispania 74.3 (1992): 543-53.
Articles accepted for publication, but as yet unpublished: Article: "Vampires, Werewolves and Strong Women: Brazilian Alternate Histories. accepted by Extrapolation, to appear in the fall of 2003. Two articles solicited by Causo: " 'A Universidade Marciana e "Eles Herdarão a Terra' de Dinah Silveira de Queiroz " and "'Exercícios de Silêncio de Finísia Fideli" for an anthology of the Biblioteca Essencial de Ficção Científica.

-Why Brazilian SF? What specifically piqued your interest? Have you read the main representative authors ?- How many? A dozen at most...? [you are kidding, right? I wrote a whole
book on the stuff...]

I am a Brazilianist; that is why I chose Brazilian SF.
Basically to survive at a research university and get tenure (permanent status), one needs to write a book, in addition to the above cited articles. So I thought, aha! Brazilian science fiction!! I have written a 290-page manuscript on Brazilian science fiction with a 30-page bibliography --so I can run through the list of authors whose works I have read to give to an idea of how much Brazilian SF I have read: most of the 1960s works by André Carneiro, Rubens Teixeira Scavone, Jerônimo Monteiro, Fausto Cunha, Dinah Silveira de Queiroz, as well as the 1960s anthologies Histórias do acontecerá, Antologia de ficção científica and Além do tempo e espaço.
Besides the five main authors mentioned above, I have included stories by Antônio Olinto, Rachel de Queiroz and Clóvis Garcia. I also read Nilson Martello's Mil sombras da nova lua.
I do not include Levy Meneses and Guido Wilmar Sassi because their works were not readily available in the libraries here (although David Lincoln Dunbar's 1976 doctoral dissertation includes them).

From the dystopian fiction of the 1970s I included Fazenda Modelo by Chico Buarque, O Fruto do vosso Ventre by Herberto Sales, Adaptação do funcionário Ruam by Mauro Chaves, Um dia vamos rir disso tudo by Maria Alice Barroso, Asilo nas torres by Ruth Bueno, Umbra by Plínio Cabral, "O homem que espalhou o deserto" from Cadeiras proibidas and `Não verás país nenhum also by Brandão. I mention A ordem do dia by Márcio Souza in a footnote. It's more of a political satire, and since it was neither dystopian fiction nor authentic science fiction, it just didn't quite fit (although the part about the chupa-chupas is interesting).

Before 2000, I had read only a few things, mostly Calife's Padrões de contato and Horizonte de eventos--but after 2000, I began reading Braulio's Espinha dorsal da memória, Flory's Só sei que não vou por ai, José dos Santos Fernandes's Do outro lado do tempo, Fresnot's A terceira expedição, stories by Roberto de Sousa Causo, Finisia Fideli, Gerson Lodi- Ribeiro, Alfredo Sirkis's Silicone XXI, Fausto Fawcett's Santa Clara Poltergeist, Guilherme Kujawski's Piritas Siderais, Phantastica brasiliana [Carla Cristina Pereira's Xochiquetzal], Marcia Kupstas's O demônio do computador, Max Mallman's Mundo bizarro, Causo's Terra Verde, Ricardo Teixeira's A nuvem from Dinossauria tropicalia, Lodi-Ribeiro's O vampiro de Nova Holanda, Crimes patrióticos and A ética da traição, Ataide Tartari's Amazon and Folha imperial, Causo's anthology Estranhos contatos, Martha Argel's Vidinha caseira, Megalopolis by Julio Emilio Braz, Cid Fernandes's Julgamentos, Roberto Schima's Fantasmas de venus, some of the stories from Intempol and Como era gostosa a minha alienígena, Alexandre Raposo's Eden 4, some of André Carneiro's recent stories, Calife's As sereias do espaço, some of Ivan Carlos Regina's stories from O fruto maduro da civilização, and some of the stories from the fanzines Megalon (dec. 2000) and Sominum (May-June 2001), and Patati's A guerra dos dinossauros.

-What was the main scope of your research?

The main area of my research is contemporary Brazilian science fiction, the topic of my book, "Brazilian Science Fiction: Cultural Myths and Nationhood in the Land of the Future." The
manuscript grew out of a chapter of my dissertation in which I dealt with Brazilian novels portraying a nightmarish futuristic world, similar to Huxley's Brave New World and Orwell's Nineteen Eighty-four. These Brazilian texts allegorically criticized the Brazilian military regime's hold on power and its program of modernization and economic development. Later on, when I became aware of the existence of a burgeoning science fiction genre in Brazilian literature, I realized that this genre might serve as an ideal medium to study Brazil's response to technology and modernization over a period of several decades. Since the science fiction genre, like technology itself, is an import in Brazil, it serves as a valuable barometer of the cultural reaction to the dramatic changes that Brazil underwent as it grew from being the fiftieth to the tenth largest economy in the world between 1960 and 2000.
My study on Brazilian science fiction is the first book-length analysis of the genre in Latin America. It generally follows a chronological order, focusing on three periods which correspond roughly to the 1960s, the 1970s, and the 1980s to the present. The earliest group of authors produced mostly anti-technological, apolitical science fiction, as a way of affirming myths of Brazilian identity. In my analysis of their writings, I use deconstruction of the myths of the feminine and of racial democracy as a basis for the analysis of Brazil's notion of national identity. In the seventies, a second group of authors employed science fiction as a covert way of protesting the military regime, creating dystopian worlds in which the myths of Brazilian culture serve as touchstones to criticize various ills associated the regime, including urbanization, industrialization, and repression.
Here, I employ the insights of ecofeminism to demystify the conflation of the land with women found in the nostalgic construction of Brazilian identity characteristic of this period. The third group of works, emerging in the mid-eighties after the dictatorship, offers a more complex, postmodern view of Brazilian society, its continuing social problems and the phenomenon of globalization. Reading these texts as allegories of modernization enriches the understanding of both the genre
of science fiction and the experience of modernity itself.
A secondary field of interest of mine is nineteenth-century Brazilian narrative. Works from this period have been especially important in my teaching, and my pedagogical interest in works by such authors as José de Alencar, Adolfo Caminha, and Machado de Assis has led to publications on each of them. In addition, I have presented two conference papers on Aluísio Azevedo best-known novels, which I plan to develop into articles. Here I draw on my comparative literature
background by looking at the mythic sources of nineteenth-century narrative, so typical of French
realist/naturalist novels, along with the displacement of Eurocentric discourse in Latin America. As Carlos Alonso has pointed out in The Spanish American Regionalist Novel (1990), such texts often have "a more complex nature than that which they (and most critics) would explicitly claim" (78), and by teasing out this complexity, my critical studies attempt to go beyond the facile equation of literary realism with simplistic literary nationalism.
As for future research, my contact with contemporary Brazilian science fiction writers has inspired me to continue publishing on this genre. Thus, I recently had two short articles accepted for an anthology of Brazilian science fiction, which address stories by Dinah Silveira de Queiroz and Finisia Fideli, two of the few Brazilian women writing in the genre.
I have also submitted two additional articles on Brazilian science fiction; one on Brazilian cyberpunk to PMLA and another on alternate histories to Extrapolation. Soon I hope to begin work on a more ambitious project, a monograph tentatively entitled "Eugenics and Gender in Brazilian Popular Fiction 1909-1939," the subject of a conference presentation I made in 1997 in which a representative of the University of Florida Press expressed interest. A first chapter for this work has already been drafted, in which I portray the role of eugenics, gender roles, and nation-building in early utopian literature (1909-1929). A second chapter will apply ecofeminist criticism to portray lost world narratives of the Brazilian Amazon (1925-1936) as a metaphor for internal colonization of the region, while the third will focus on reactions to feminism and the changing roles of women in the early science fiction from the 1930s by Berilo Neves, Gomes Netto, and Alfonso Schmidt.

-What was your approach to our SF and what "conclusions" do you draw from it?

For the GRD generation I used Gary K. Wolfe's idea of the icons of science fiction: the robot, the alien, the spaceship, the city, the wasteland. Since I have read Gilberto Freyre, Darcy Ribeiro, and Roberto DaMatta, I see Brazilian SF through the lense of Brazilian cultural myths (the myth of the fertile land, the happy, docile people, racial miscegenation, geographical, political grandeza etc). In this sense my aim is to discover the "political unconscious" behind Brazilian SF. Basically, the robot is portrayed reflects the master/slave dynamic of Gilberto Freyre, the alien is a variant on multi-racial society in Brazil, or Brazil's experience with foreigners and foreign technology, the spaceship brings out traditional gender roles and the cult of motherhood, the city is the site of civilization and the possibility of cultural renewal, while the wasteland is a reflection of the Cold War and Brazil's marginal position in world politics.

What I found was that each Anglo-American icon was changed or twisted by the Brazilian author, mainly because of different cultural values--clearly the Brazilian SF was more anti-technology than most Golden Age SF.

In the 1970s with the onset of the AI-5, the coup within the coup, many Brazilian mainstream writers attempted to write science fiction. Of course, what they ended writing was dystopian fiction in the tradition of Zamyatin's We, Huxley's BNW, and Orwell's 1984. All basically share the same plot. An inhuman technocracy imposes cruel and impersonal rules to Brazilian society in order to make it a world (or at least a regional) power. The main character rebels against this state of affairs, and the technocracy falls (or not--depending on the level of cynicism of the author). Since I find this kind of writing derivative, I used ecocriticism and ecofeminism to demystify these authors' point of view. I found that they idealize myths of Brazilian identity: the fertile, green land, the happy, sensual people, the myth of the three races--and expose their atavistic urge to return to the past. While I think that protest literature is important, I believe it can
also mystify; an idea I got from Flora Sussekind's Tal Brasil, qual romance.

From 1985-present Brazilian SF writers have grown much more familiar with the genre and with a more modern world. Television, films, the translations of much SF into Portuguese led to a new generation of fan/writers, which is distinct from the literary origins of the GRD generation and the mainstream protest generation of the 1970s. For this reason, traces of hard science fiction makes its way into Brazil, and cyberpunk, stories about destructive robots and computers, alien tales, alternate histories, and a new view of women all take root. I found that hard SF in Brazil is overlaid with a certain feminine or Third World point of view, while cyberpunk is a complex commentary on race, racial politics and post-modernism. Robot and computer tales (as Crianças não devem chorar, A aristocracia eletrônica, A neoescravocracia advinda, O demônio do computador) deal with the fear of urban violence, and the prejudice against blacks, women, and the lower classes. Alien stories deal with the phenomenon of globalization, and the resistance to it, the solidarity of aliens and Brazilians, or a hybridization of cultures (alien and human, modern and traditional). Alternate histories re-write Brazil's colonial status, and image different roles for minorities and women--while Max Mallman's parallel universe parodies Brazilian "grandeza" and mocks its elite. Images of women have changed from strictly mother or prostitute to a more independent type of woman warrior, career woman-- although there is not a real feminist sf per se. I think it's encouraging that half the stories of Como era gostosa a minha alienígena were written by women... I think that SF written the the Third World in general and Brazil in particular has alot to offer.

-Do you think that a country without a scientific tradition such as ours could produce good SF?

How much science did/do SF writers here really know? Alot of it was not based that much on scientific fact, although some of it was. Brazil is as industrialized today as most countries were when SF began I think. I think that cultural barriers can get in the way. Think of India!

-In light of the new, contemporary SF written today, at least, - a not-so-distant future setting, humanism themes, and so on.. - I guess we could tell good stories. Do you agree?

Yes, many of them are referred to in my book! I see SF as an ingenious way of commenting on the process and consequences of "economic development." I think it is an excellent medium for
social commmentary, especially on globalization and modernization - see above.

-As an outsider and researcher of our SF, what "recommendations" would you make to our writers in order for them to express their ideas and also reach the reader?

Really, I just analyze 'em, I don't write 'em. No, seriously, I know precious little about the creative process and I don't pretend to make any kind of recommendations to anyone about writing science fiction. I think writers write be

cause they HAVE to. I would not dare to dictate my views except to say that one should read a lot - and alot of SF - before you venture into the genre. I think there are several derivative works that have been written by people trying to capitalize on the popularity of the genre. I consider Sales's A porta de chifre and Cristovão Buarque's book examples of how not to write SF.
As for super-experimental stuff...who knows. I cannot understand much of what Hilda Hilst writes, although some literary critics can.

-What Brazilian writers have you been in contact with?

Calife, Lodi-Ribeiro, Causo, Finisia, Ataide Tartari mostly; I interviewed Braulio Tavares once, and have met and spoken with Octavio Aragão and Patati at the CLFC in Rio, and I have corresponded with Martha Argel, Julio Emilio Braz and André Carneiro by e-mail - and I also interviewed Carneiro by telephone. I am also on the list for the RGP.

-What type of questions did you ask them for your research?

Who were your influences, what is science fiction in Brazil, what have you read, why do you write about X? What does story X mean? What do think think I should know/read? I try to listen more than ask.

-Is there at least a "little space" for publishing Brazilian Sci-Fi in the rich and profitable American market? Or do you also think, as does the acclaimed Orson Scott Card (who at one time also lived in Brazil)- that we must find our way in the market here?

I have no idea, since I don't really publish in that market or have any idea how accessible it is. My impression is that language is a huge barrier. I think translators can bring some Brazilian SF to the American academic market, as Andrea Bell has in her forthcoming anthology of Latin American (including Brazil: Tavares, Monteiro and Carneiro) and Spanish SF "Cosmos Latinos," but to compete in the paperback market is something different altogether. The translations or English versions of several Brazilian stories I read had cultural, geographical and lexical or register errors that made me cringe. On the other hand, Braulio Tavares and Causo have had some luck in venues interested in international science fiction that use English as a common language.

-Do you read also comics - or illustrated novels?

Nah. There are a bunch of people really interested in Japanese Anime; I saw a panel on this at the International Conference on the Fantastic and the Arts in March 2003, but can't say I'm a fan.

-Do you think that the 20th century, with all its paranoia, conspirations and corruption, could be inspired by "From Hell"? ( I have asked about the famous graphic-novel than turned film, by Alan Moore. But it seems that Libby did not read it also.But since her reply is interesting in anyway, I opted to maintain it)

I think each generation thinks it's the end of the world, that things are getting worse and worse. Crime in the US has been going down, but if you look at the media, you would think it's the opposite. (I cannot say the same for Brazil). People think abortion and divorce are the end of the family, the decadence or end of civilization, when they represent very progressive humane and life-saving measures for women. I think people are basically afraid of change and they legitimate that fear through some apocalyptic scenario. Perhaps I am being too sanguine, but the bubonic plague was pretty hellish.

-Do you think that comics can be used as a political instrument in that they can reach and appeal to a large audience?

I don't know. How successful was Ariel Dorfman's "How to read Donald Duck" or the "Maus" series about the Holocaust? I know children can be easily influenced...

- Returning to your work, tell us more. What do you think is your best work till now and why?

The book is among the best things I have written or at least the most innovative, because there is no other work that I know of that attempts to analyze science fiction of the non-Anglophone world.* I also think that my article on Machado de Assis's Iaia Garcia is one of the best I have written - and I wrote it in Portuguese - but I don't think that's germane to our talk here. The other work I have done is basically on national identity and nation-building in Brazilian naturalist works, especially with regard to issues of race and gender. I am interested in the fissures in the construction of this identity, and where it fails and suceeds (O mulato, Bom Crioulo, O cortiço, Luzia-homem, etc.]

*(I have read one other work called Ciencia-ficcion en espanol by Yoland Molina Gavilan which attempts to analyze several Latin American and Spanish authors. It essentially treats Spanish-speaking SF as an extension of the general SF tradition. I could find no theoretic framework or organizational principle behind the work, and it's is mainly descriptive. Of course the chaper I found most interesting was the one on Basque nationalism--because it dealt with national myths. However, it seemed ironic that the Basques, who are so proud of their language, have to write in Spanish in order to be read. Plus the book is in Spanish which limits its readership).

Well,Libby, that's all for now. I wish you great success to your all your projects, present and future,and many thanks for sharing your precious time with us.

As we say, no problem!