Such an interesting question. And the image that I have of the departure is really powerful. This is probably not the more linear answer that you're looking for. But this honestly what I'm thinking about, that the gods of memory and the reinvention of the dead, I think that happens over and over, has something to do with the nature of time. And I've been actually writing a lot about grief, collective grief trauma. I'm a book collaborator, as well as a writer of my own work. And almost all of my book projects right now have to do with grief and trauma. So somehow, I've put that out into the universe. But I'm also I'm also doing journalism in this area. And I'm working on a piece right now that is about anniversaries, and about how we approach anniversaries and how grief is cyclical. And I also wrote a piece recently, inspired by the work of it's called the book has a great title, it's called the terrible unlikelihood of our being here. And it's Santa Paula and tonetta. And she writes about loss and physics and the the, the actual nature of relative time. And so I wrote a piece sort of talking with her aboutthe folding of time, and that perhaps pandemic time, or Crisis time, as I mentioned earlier, right, that we're actually experiencing time more as it actually is in the world, rather than the way that we perceive it as a as a sort of straight line of linear reality. And so where this overlaps with the spirits leaving on that day, the people who departed that day, when time if time is a folding in on itself, sort of thing, a plastic, you know, more chewing gum kind of entity, then it means that our, our past and our present can come together. And it means that we can actually have different encounters with the people after they're gone. At least theoretically speaking, right? Because there's this great physicist and this I'm so in my out of my realm right now in the depths of physics that I'm not an expert in. But I find it fascinating, where this is notion of all of the nows as a series of Polaroid shots that are all laid out on a table. And so if all of the now is our coexistence on the table, then you could pick one up from over here and pick another one up from over there, and maybe your grandmother's in one, and maybe it's your parents meeting, again, Larry, in another, you know, and, and we can bring these things close to us, right, we can we can, we can look in the look at the world with that level of vast perception. Not the linear, I miss New York to that you're looking for. But I think it's an ever changing thing. I mean, I missed the New York of, of, you know, 1931, that I researched deeply for my first book, My River Chronicles, that was all about the rise and fall of respect for craftsmanship, and hands on work. And so I never lived there. But I immersed myself in that sea of reality at the time. And so I missed that in New York to where there were finger piers all along the shoreline of the western side of Manhattan, you know, counting to I think the number is 76 miles of working waterfront, with those finger piers, if you traced, you know, all of the geography there. And so instead, to go back to what you had mentioned earlier, Jane about the infrastructure, really, we were confronted the past and present we're, we're right up against each other on September 11, when life or death decisions and life or death actions were affected by that lack of the infrastructure. So in a very real way, there is a woman, I was not able to get further on her story than a certain point and then it hit a brick wall. But I believe I actually have a photograph that may include her and it does not look that look like she survived. And she had in a panic jumped from the sea wall, which is erected with a it's hard to describe just by audio, but it's basically it's an ornamental railing. It's not just ornamental, because it's meant to keep people off the river. So it actually curves towards you if you're standing on the shore. So So this woman had to climb over this railing, and she jumped down to the steel deck of a fire boat, because there was no ladder, there was no you know, no, there was no concept that big boats would come up alongside and individual people would, would try to get on. Right. And so and she suffered what is what was very likely a fatal injury, head injury on that on that boat. And so there's a juxtaposition of before and after, right? of, of who we once were as a, as a working waterfront community. And, and, and we are now where so much of the very alive waterfront that is still, you know, some dock worker had their hands on everything that anybody had in their lives back then, right? crates and barrels and things like that. Now, it all comes offloaded in a container, like a Lego block, right? But all these things actually, you know, found their way across the seas. And I'm, I'm rambling a little bit here, but another collision moment that happened on September 11 12th, and so on, was that we actually returned to the working harbour of the past, because everything was offloaded by hand. So it was like a bucket brigade of like, okay, we need water on the side. And so boats would deliver water and hand to hand, you know, make a pile. Oh, we need you know, food. Okay, hand to hand people would deliver it was breakbulk cargo come back to New York shores, which I found really moving.