I stopped being a writer; today I have the words to tell you why.
I don’t write because I’m being watched. I turn off the words; I numb the feelings; I avoid the associations; I distract the thinking; I step away from the situation. I am here to document the ways in which I have chosen silence over action.
The first time I went to Friday prayers after moving to Chicago, no one said salaamto me. I thought, “Is this how a Desi gets treated in a predominately Arab masjid?” I remembered Dad telling me about the young, connectionless men at his masjid. He said, “They keep coming and going out of nowhere – they must be spies. No one talks to them.”
He asked me, when I told him about volunteering at an Islamic nonprofit, where their charitable donations went. He said these organizations get in trouble for sending their money abroad and their members get labeled terrorist sympathizers.
I text my sisters that I have a thing to tell them that’s not bad but I feel weird telling them on the phone so remind me to tell you when we all next meet (days, weeks, months?) so whoever the FBI has assigned to read this group text won’t find out (can’t I have some secrets, FBI agent?).
Before we got married, Neema seriously asked me if I was an FBI agent. “You’re perfect,” he said. Too perfect, he didn’t say.
You could say we’re paranoid; but we’ll say we’re up-to-date on our news and have learned our histories. Connection is risk.
I decided to practice radical empathy after Michael Brown was shot. I did not and do not have a hard time feeling empathy for protesters, for rioters, for the rage that leads people into the streets or for the rage that leads them to want objects to burn. I never wrote that I felt this way but I do feel this way and have no difficulty conjuring these emotions (but do struggle to make them disappear).
I practiced empathizing with George Zimmerman and with Darren Wilson and with Timothy Loehmann and with the officers of Waller County Jail and with Dante Servin and with the Baltimore Police Department and with Jason Van Dyke and with and with and with and with and with
I didn’t like it and I succeeded. But that’s a different story.
I am going to qualify here because if I do not you will wonder that having empathy for someone does not mean excusing someone.
I tried practicing radical empathy after James Foley was executed.
I am trying not to stop myself from writing this.
I tried practicing radical empathy after James Foley was executed. That empathy exists as a heaviness in my chest and a shortness of my breath. That empathy pushes at the edges of my heart but I am scared to let it in. I feel it as a failure of my humanity and I fear it as a failure of our humanity. I do not Google ISIS because I do not want anyone to know I Google ISIS. I do not know the stories or motivations or language of the humans-not-monsters who constitute ISIS because I do not think I can subsequently assert their humanity without putting my own into question. Empathy is risk. I am not a monster.
But I will own to being a coward; by now you know this. In my circles we talk about strategies for change: sometimes you want to be a Malcolm and sometimes you want to be a Martin. Mostly I am a chump choking back both my words of violence and my words of peace.
I remember back to my ethics class in journalism school. The question was whether journalists should not publish information that the government asks them not to publish for security. “Well of course,” said the class, “for security.”
For. Whose. Security?
I do not remember agreeing to value our lives more than their lives. I do remember my question knocking up against the insides of my teeth as I kept my mouth shut. I do remember remembering Abu Ghraib and air strikes against civilians and the Pentagon Papers and the people like me who were killed for the security of people like me. I do remember not saying that I thought our allegiance as journalists was to the truth.
I grew out of wanting to argue to argue. I do not hold these ideas as objects in my mind with dimensions I can manipulate and play with. I feel them in my gut and they bubble up as bile in my mouth. I do not want to taste this publicly in our class discussion or over coffee or as a Facebook comment. I do not want the acid that is burning holes in my stomach to sting in polite company. Would you even understand that while I skinned my knees on the same playgrounds as American soldiers and while my livelihood is tied up in American interests they serve, my mouth also prays the same prayers as those Arabs and Afghans and Pakistanis and Persians we are meant to fear? Maybe you could not understand me but you do suspect me in my skinny jeans and brown skin.
Understand this: I have written. And I have deleted. And deleted and deleted.
I know I am watched. As a consequence, I decided to restrict my speech and my press and my pursuit of happiness. I have been silent, but I have not been blind. I, too, have been watching.
Beautiful. Defined by Merriam-Webster as “generally pleasing” or “exciting aesthetic pleasure.” Synonyms include “attractive,” “appealing,” “delightful,” “ravishing,” or “stunning.”
Personal addendum: beauty is also commonly used to enforce hierarchies, perpetuate toxic standards of attractiveness, and sexualize women without their consent.
Growing up in a predominantly white / Asian neighborhood, I acutely felt the weight of not living up to the traditional beauty standard of having light skin. When you hear comments your whole life about how brown your skin is and what you should avoid to keep from becoming darker in order to be prettier, you learn quickly that the shade of your skin is something to be self-conscious about.
At one point, a neighborhood kid—someone I called my friend—told me on our school playground that he didn’t want to play with me because I was too dark. And so I started to learn that having dark skin was an offense that meant you weren’t quite as good as other people. Slowly, it begins to seep in that the color of your skin is something you should apologize for.
I also began to hate anything that pointed out how different I was from the people I saw on TV or in magazines. When a friend pointed out how my smile made my nose flatten and “disappear,” I was mortified and hurt by the teasing that followed. I spent some time futilely trying to make my nose more pointed by pinching it, before eventually giving up. When someone commented on how small my eyes were, I started looking up tips on how to make my eyes seem bigger.
When puberty hit, those things no longer seemed an issue. Instead, I was now being called “beautiful” by all different people. At the same time, my shorts were suddenly too short, my skirts were too revealing, my shirts were too tight. My girl friends refused to introduce me to boys they liked. I had no idea how to reconcile my self-image as a person no one would be romantically interested in with these comments about my body, the sudden distrust of my female friends, and my family insisting I needed to be covered up when it had never mattered before.
When I was sixteen, a family member, not blood-related, touched me inappropriately. We were in the living room, waiting for the rest of my family to come in from the garage, when the conversation took a strange turn. Suddenly we were talking about my body and how nice it was as his fingers brushed the curve of breasts, hips, and ass. I froze, terrified and unsure what I should do, as my senses screamed that this was wrong, he was too close, he shouldn’t be touching me like this. Luckily, someone came through the door a few seconds later and he stepped away from me, so casually, as if nothing had happened.
Later that evening, when I was ordered to walk him to his car, the fear came rushing back, but I was also too scared to refuse. As we neared his car, I turned, faced him, and said if he ever tried to touch me like that again I would punch him in the face. I’m not sure if my voice actually shook as I mustered up my courage or if it was the feeling of my knees shaking, but he apologized and said it would never happen again.
I turned and ran back to the safety of my room. When the deadbolt slammed home, I sank to the ground and called my mom, trying not to cry and terrified she wouldn’t believe me. Luckily, she did. And so did the other people she told. But she didn’t tell the person closest to him, because, as she explained it to me, they were worried she would take his side over mine and blame me. When another family member told me “that’s what you get for wearing tight clothes,” I fought back and told them it didn’t matter what I was wearing, that kind of behavior was inexcusable and shouldn’t be blamed on me, and I stormed back into my room.
No one spoke of it afterward.
But the scars stayed. Even though I had declared so vehemently what I knew to be true, I remember the deep, abiding sense of shame and fear of what had happened and how my body had been “the cause.”
There was another time, when I was traveling with my teammates at an out-of-state tournament, when one of my guy friends blew up at me because I was unsure of my feelings toward him. After I left to keep an appointment with some other friends, I started receiving a barrage of hurtful, hateful texts calling me a flirt, insinuating I was a slut, telling me that other people were right when they called me a tease. When I read them, I broke down and cried for hours because I never thought someone who I thought knew me so well could say such horrible things—could use all of my insecurities, vulnerabilities, and secrets laid bare and weaponized against me because he was angry I had told him “no.”
I had never felt so alienated, alone, and heartbroken as I did that night, trying to find a deserted corner of the hotel where no one I knew would be able to see me cry as more and more texts came in. I called my best friend and told him what happened between gut-wrenching sobs. And I was afraid to go back to my shared hotel room where I would have to face the people who had told him those things in the first place.
There have been so many other instances, moments that repeat until they build a lifetime of experiences: all the times when I felt threatened by men who approached me with “You’re so beautiful,” or “Hey gorgeous,” with that proprietary tone in their voice, when my “no’s” have gone unheard, ignored, and dismissed, when I have been touched without permission or consent. I learned that my body was something to be ashamed of: a source of harassment and hurt and unwanted sexualization. But I didn’t even know I’d learned it until a friend casually mentioned how he and another mutual friend had noticed how I tried to play down my curves, but that it didn’t work. I was stunned. I hadn’t realized how deeply the idea that I shouldn’t draw attention to my body had seeped into my mind. I disliked wearing anything that emphasized my breasts. I had felt uncomfortable buying my first pair of skinny jeans because I thought they drew too much attention to my hips.
As a woman of color, as a Filipina-American, there are so many conflicting narratives about beauty and what it means that, often, the nuances get lost in the telling. We strive to be beautiful because society has taught us we should be, but our beauty does not belong to us. It has taken me years to realize how deeply ingrained it is in our society for women to hate their bodies. We are told over and over again we are not beautiful the way we are: from the color of our skin to the shape of our nose to the curves of our hips. We are simultaneously too much and too little, not quite the right shape or size. Or else our beauty is fetishized, found “foreign” and “exotic.” Our looks are subsumed into narratives of colonization, race, and sexualization. We cannot own our bodies because other people own them first.
I was taught that the color of my skin somehow made me “less” because darker skin was not considered beautiful. I was taught that my body was not my own because other people’s perceptions, criticisms, and attention came first. When I got sexually harassed, it was my fault because I drew their attention by being “beautiful” or “sexy” or simply having curves. I have learned that usually when a man calls me beautiful, it is because he wants something from me. I have learned that somehow I am showing off by complaining. I have been told so many times, even by other women, that I should feel gratified by this attention, as if I am ungrateful for feeling threatened when a man approaches me and sexualizes me against my will.
But realizing those things has also given me the ammunition to replace them with other, more radical ideas of self-love, acceptance, and rebellion against these pervasive beliefs. It took years of effort, trying to find aspects I liked, before I could honestly look at myself and think, “I look pretty the way I am.” I remember texting one of my friends what had happened and her response was a blasé, “Of course you are. I could have told you that.” But that day marked a huge milestone for me: the beginning of claiming my reflection as being good enough, not for others’ attention or opinions, but for myself. I had begun the revolutionary process of reclaiming my body as my own and no one else’s.
Now, I have reached the point where I can look at the mirror and smile at my own reflection. And I am proud of the way I look, but even prouder of how I can practice a kind of radical self-love that fights against everything society has told me is unlovable or negative about my body.
For all the years I spent learning to hate myself, there are still so many more in which I want to grow in love and self-love for all the people who were taught that their bodies were not meant for them to nurture, take care of, and feel comfortable in. See, the thing is, I don’t need external validation to be content in the way I look. I don’t need strangers or acquaintances to tell me I’m beautiful, as if somehow telling me is a boon. I don’t care if other people call me beautiful because I don’t need their opinion of my physical appearance. I’d rather be complimented for how I live than how I look.
I am tired of being told that I cannot be comfortable in my own body. I am tired of dealing with what society tells me is “sexy” or “exotic.” And I am tired of men using the word “beautiful” as leverage in their quest for sexual gratification. I do not owe anyone any aspects of my body, from my smile to my skin to my sexuality. I refuse to engage in and perpetuate the colonial rhetoric that tells me my body is not good enough unless someone else wants it sexually. I refuse to let my personhood be dependent on misogynistic narratives of race and sexuality. And I refuse to let my life be one where other people’s recognition of and opinions about my body dictate how I live, work, and love.
In 2010, I was zealously playing an action-adventure Wild West video game called Red Dead Redemption by Rockstar Games.
The game follows ex-outlaw John Marston, on a quest to atone for his past and save his family from a shady government agency during the early twentieth century. It is deep, moving, engrossing, and a helluva lotta fun…everything I wanted my own stories to be.
I’d just published my debut contemporary romance under my other pen name, Vicki Essex, when the thought came to me: Why weren’t there more fantasies set in the Wild West? Why were so many magical worlds set in feudal fairytale kingdoms with castles and kings and wizards?
And so The Devil’s Revolver was born. I’d always been a reader of YA fantasy and aspired to publish in the genre. Fueled by hours of playing through bloody gunfights and long horseback rides across a seemingly endless, beautifully rendered landscape, I set out to write my story about a cursed cowgirl and a magic gun.
The question was, would anyone want to read a Western, even if there was magic in it? Despite the number of successful cross-genre stories like the Joss Whedon show Firefly (another inspiration) and Cowboys vs. Aliens (who doesn’t love Daniel Craig?), I realized that getting an audience hinged on two things: characters and world building.
I knew from the start that Hettie Alabama would have a long journey ahead of her. She was hardworking, family-centered, hard-headed—a product of her sometimes harsh surroundings with both boots planted firmly on the ground. She was “mundane,” bearing no magic gift of her own, and her only concerns for the future were ensuring the safety and security of her parents and little sister, Abby. She was also coming of age in a world where women’s roles were still limited, where brutal violence was commonplace, and where justice didn’t always mean fairness or satisfaction.
And then I handed her a legendary long-lost cursed weapon everyone was after.
Building the magical world around Hettie was more challenging than I’d anticipated. The world of The Devil’s Revolver started as one that was basically turn-of-the-century American, “but with magic.” History happened as it had, “but with magic.” Science and technology kept pace with real-life timelines for the most part, “but with magic.” It wasn’t a tough stretch—when you can imagine a spell to make something happen, you can imagine a counterspell to stop it from happening.
I kept the use of magic sparse and practical. When I started, I knew that magic had a price, that it was as precious as gold, nearly as scarce, and dwindling in intensity and supply. Sorcerers didn’t waste magic on frivolities—spells had to be as pragmatic as Hettie herself was, but also life-altering in the same way indoor plumbing might be in a rural household.
What I hadn’t really considered until well into the first draft was just how complex the system of magic would be in this world, and what it would mean to various characters and cultural groups. I couldn’t just appropriate rituals, beliefs, and ceremonies to fit into my story. To some groups of people, these magical traditions were real.
So began my own journey to decolonize my writing. As a result, “magic” in Hettie’s world, as I conceived it, couldn’t be a single overriding tradition, nor could it necessarily all come from one single source as more rigorous standards for world building might require. Every culture has its own forms of magic, whether it’s fortune-telling, prayer, conversing with otherworldly beings, healing, manipulating others…the list goes on and on. In short, “magic” allows us to trust in what is and what can be achieved through various customs or rituals without qualifying its value. Some people call this faith.
The journey’s a long one, for myself and for Hettie. I hope you’ll enjoy The Devil’s Revolver and come back for the rest of the series, coming soon from Brain Mill Press.
When I was a teen, the most relatable young adult book I ever read was The Outsiders by S. E. Hinton.
Inspired by the real-life clashes of two high school gangs known as The Greasers and The Socs, the book is told from the perspective of a fourteen-year-old Greaser named Ponyboy Curtis. Published in 1967, the book is such a popular classic that it is required reading for many middle school and high school students.
The Outsiders validated my experiences with being out of place among my peers and made me feel that my own story could be valuable someday. However, it also made me conscious of my ethnicity, especially since all of the characters were white.
As I read more YA books as a teen, I noticed that there weren’t a lot of books with black characters that had the same impact as The Outsiders.
Although there were black YA authors like Sharon M. Draper and Walter Dean Myers, I couldn’t connect to their stories. Most of the books by black YA authors that I read discussed socioeconomic issues like teen pregnancy, racism, and rape. While I knew that there were black teens who did experience these things, I wasn’t one of them. I was a nerdy black misfit who felt like no one could see the real me.
Besides The Outsiders, the only book that I connected to was Bronx Masquerade by Nikki Grimes. Not only was Bronx Masquerade written by a black author, but it also featured many characters of color. Written in verse, the book uses the style of a poetry slam to tell the thoughts and emotions of eighteen teens as they navigate their identity. The book spoke to me as a budding poet who was unsure whether or not my point of view was valuable. As the first novel I read in verse, the book showed me a unique way to tell my story.
However, as influential as this book was, I would soon forget about it.
Since I couldn’t find any other books I could relate to, I ended up reading more YA by white authors than black. Between high school and college, I read many contemporary and YA fantasy authors, including Laurie Halse Anderson, John Green, Richelle Mead, and Suzanne Collins. The only black YA author I read was Jacqueline Woodson. She stood out to me because her work included coming-of-age stories with black characters that didn’t feel generic at all. Although I couldn’t relate to any of it, I still appreciated it. Some of her work is influenced by poetry, especially titles such as If You Come Softly and Brown Girl Dreaming.
As a result of reading mostly white YA authors, I started to feel like I could never truly belong in YA literature. I wanted a black character in a John Green romance and a black character who was magical like Harry Potter, but they seemed hard to find. Black teens had experiences that were just as varied and complex as those of white teens, but I kept seeing the same stories getting told and being published. I eventually forgot about Bronx Masquerade because it reminded me of how rarely I could find stories that related to me.
In 2015, I bought Daniel Jose Older’s Shadowshaper after seeing that it was an YA urban fantasy book with an Afro-Latina protagonist. I also discovered the grassroots book campaign We Need Diverse Books and the contemporary YA book Juliet Takes a Breath by Gabby Rivera. All of them would plant the seed for a new relationship with YA books.
Shadowshaper was the most incredible book I’d read in a long time. It combined art and the supernatural for a creative, awesome magic system. It was set in a culturally rich environment that was palpable and interesting. It dealt with real-life issues including colorism, gentrification, and cultural appropriation. To top it off, there was a diverse, inclusive cast of characters that entertained and related to me. Shadowshaper began to reshape my opinion of YA literature by massaging my senses with words and color.
While Shadowshaper changed my opinion of YA fantasy and sci-fi, Juliet Takes a Breath changed my opinion of contemporary YA. I ended up reading the book twice within two months and writing a feature article to help promote it. This book became my best friend, one that I wanted to keep turning to for guidance and empathy. Victor Hugo once wrote that books were cold but safe friends, but this book is one of the warmest things I have read.
After reading Shadowshaper and Juliet Takes a Breath, I became determined to find the books I wanted to read as a teen and spread the word about them.
Afro YA books matter because black teens need to see themselves in words. They matter because I am feeding myself books I should have devoured as teen. They matter because The Outsiders showed me my worth as a writer, while Brown Girl Dreaming showed me my worth as a black writer.
We Need Diverse Books has been saying what I felt throughout my teens and early twenties: We need diverse books, and we demand them. We demand them, we uplift the authors who write and represent them, and we tell the world about them. We have always been here, and we aren’t going anywhere.
The Afro YA promotes black young adult authors and YA books with black characters, especially those that influence Pennington, an aspiring YA author who believes that black YA readers need diverse books, creators, and stories so that they don’t have to search for their experiences like she did.
In fourth grade, I read Frances Hodgson Burnett’s 1911 novel The Secret Garden. I owned a mint-green Dell Yearling paperback copy that I must have bought with my allowance money. It was a book that likely inspired my childish love of the idea of England, of the idea of gardens and nature.
In The Secret Garden, ten-year-old Mary Crawford is sent to England after her parents die in a cholera epidemic in India. She finds herself at the Yorkshire estate of her uncle Archibald, a widower with a tragic past.
Mary is described as an unpleasant child: sallow, thin, spoiled, unsmiling. She is used to ordering people about and having no other children to play with. But once she’s in Yorkshire, the maid Martha begins telling her tales of her family, especially her mother and Martha’s animal-loving brother, Dickon. Mary soon finds herself shunted outside to play, where she befriends a robin and grumpy gardener Ben Weatherstaff, and learns about a secret enclosed flower garden on the estate. Being outdoors improves Mary’s physical stamina and mental outlook: she starts running around and jumping rope. And once she finds the key and the door to the secret garden, she begins poking around in the earth.
She also meets Dickon and, later, her ten-year-old cousin, Colin, an invalid whose cries echo through the manor. She soon gets Colin out of the house and into the garden. Being outdoors enacts a transformation of Colin’s health and gives him a channel for his autocratic tendencies. Soon the children are running around singing, chanting, and speaking odes to the healing magic—sorry, capital M Magic—of “plain” English food, English weather, and English gardens.
Frances Hodgson Burnett was born in England in 1849 but spent a large portion of her adult life in the United States—moving first with her family to Knoxville, Tennessee, then Washington, DC, and ending her days in Plandome Manor on Long Island in 1924.
In addition to The Secret Garden, she was best known for her children’s novels Little Lord Fauntleroy and A Little Princess. Burnett was also a prolific author of plays, serials, and novels for adults. Her work was successful enough that she was able to spend time in Paris, across Europe, and at a home in Bermuda where she wintered. She also became interested in Christian Science, Spiritualism, and Theosophy, and the effects of those beliefs can be seen especially in the last quarter of The Secret Garden.
As a kid, I remember skipping over those “spiritual” sections a lot, although I can’t say it affected my enjoyment of the book. Our Language Arts teacher, Mrs. Stephenson, had similar feelings when showed us what I think was probably the 1975 BBC miniseries adaptation. She said she liked it, although she mentioned the magical-spiritual garden stuff being very hokey.
Hokey is perhaps not the word I’d use today.
I’d love to say that tiny Mindy read The Secret Garden and was able to identify the shitty colonial ideology of the book.
But no, the opposite happened: the book helped make me an Anglophile in my stupid, stupid youth. I loved this idealized version of England with chatty robins and wild animals tamely following Dickon around the moors. I tried to speak with a Yorkshire accent. I wanted to like things described in the book, such as good thick porridge (even though in reality I didn’t like porridge, unless it was Taiwanese rice porridge), currant buns (I disliked currants), the chilly outdoor air (we were in Canada and it was often more than chilly), and running around in it (no). I even wanted to like gardening, though in my personal experience my parents’ and grandparents’ suburban Canadian vegetable patch was pretty terrible and certainly didn’t involve sweet-smelling flowers or fresh healthy air. Clearly I was willing and able to endure a lot of cognitive dissonance around the realities of what I liked and wanted in life versus the ideals described in The Secret Garden.
One thing I could not love even as a child, however, was Colin. And on re-reading the book, well … if anything, he’s worse.
It is very clear to me as an adult how much love and attention the narrator lavishes on Colin. He is often described as “beautiful.” He has a “beautiful smile.” He’s “quite beautiful in spite of his thinness.” His eyes are “beautiful” and strange, and he has long, thick lashes.
Despite not being introduced until the second half of the story, he takes over most of it; Mary—remember Mary? The girl we start off following and the one who finds the whole damn secret garden?—has no more than a few lines of dialogue in the last quarter of the story. Colin, by contrast, talks for pages and pages.
“The Magic in this garden has made me stand up and know I am going to live to be a man,” Colin says at one point.
After spouting off in kind for a few more paragraphs, he has Ben Weatherstaff, Mary, and Dickon sitting cross-legged in a circle with him:
“Now we will begin,” he said. “Shall we sway backward and forward, Mary, as if we were dervishes?”
“I canna’ do no swayin’ back’ard and for’ard,” said Ben Weatherstaff. “I’ve got the ’rheumatics.”
“The Magic will take them away,” said Colin in a High Priest tone, “but we won’t sway until it has done it. We will only chant.”
Colin becomes the expert on Magic—even though he’s not the one who came up with the idea. But Dickon and Mary and Ben Weatherstaff accept his leadership. He’s a budding cult leader, complete with questionable medical ideas, “beautiful”/hypnotic eyes, and an imperious manner.
In Colin the most annoying parts of Burnett’s spiritual-colonial enterprise are personified. The boy is often also described as a “the young Rajah.” Mary says:
Once in India I saw a boy who was a Rajah. He had rubies and emeralds and diamonds stuck all over him. He spoke to his people just as you spoke to Martha. Everybody had to do everything he told them—in a minute. I think they would have been killed if they hadn’t.
The “Rajah” epithet sticks because Colin is bossy as fuck. He is the master of the house while his father is away—and never stops reminding people of the fact. But what does it mean that Colin is continually compared to a young, spoiled non-Englishtyrant, when in fact, being cooped up in England on his own estate has made him the dictator that he is?
In the characterization of Colin, we run up against the fact that so much of the book depends on comparing India unfavorably with England, even as the book exploits Indian things that it finds convenient. The children cobble together a spiritual practice by referring to animal charmers, “fakirs,” transplanting Mary’s childish colonial cultural observations and bits from Colin’s books, mixing in the idea of the pastoral, and trying to mash all of these things into a kind of magical—sorry, capital M Magical—English-ness.
I live in Manhattan now, in an apartment.
My upstairs neighbors are renovating, so all morning I’ve been trying to write some sort of conclusion to this piece between the whines of drilling and the thump of a sledgehammer being taken to the walls. My life is the opposite of bucolic, and at times like these, I find myself wanting to agree with Frances Hodgson Burnett—an Anglo-American, city-loving socialite writer—that there is no location more magical and desirable than a great, green garden in England.
But that place is largely a myth—a nation-building tale from another time—and I don’t think the the rulers of that place would particularly welcome me.