Join author Sonora Jha in a captivating discussion about her latest novel, 'The Laughter', at the Jaipur Literature Festival 2024. Presented by Dailyhunt, this conversation explores themes of class, privilege, radicalization, and academia through the lens of a compelling narrative. Sonora Jha, acclaimed author and professor of journalism, engages with Susana Torres Prieto, Associate Professor of Humanities, in a thought-provoking dialogue about the dynamics of power and identity. Discover the complexities of the 'other' and the semantics of entitlement in this illuminating saga of Lust and retribution.
#JLF #JaipurLiteratureFest #LiteratureFestJaipur #TheLaughter #SusanaTorresPrieto #SonoraJha #JFL2024 #JaipurLiteratureFest2024 #Oneindia
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#JLF #JaipurLiteratureFest #LiteratureFestJaipur #TheLaughter #SusanaTorresPrieto #SonoraJha #JFL2024 #JaipurLiteratureFest2024 #Oneindia
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NewsTranscript
00:00 Your novel, if you have read the little intro they give you, it sounds to me, or could lead
00:12 people to think that it's what we call a campus novel, you know, sort of a campus novel that
00:17 David Lodge wrote a couple of decades ago or more.
00:21 But it's also a mystery.
00:23 So you are the author.
00:26 How would you, which of those two etiquettes, if any, you would feel more comfortable under?
00:31 Yeah, that's a great question.
00:33 And before I answer you, I just want to say thank you so much for coming.
00:37 I think I was trying to recruit two or three people to come to my session, but there are
00:42 more than two or three.
00:43 So thank you for being here.
00:44 And thank you, JLF, for organizing this.
00:48 And thank you, Susanna, for, you know, it takes a lot to read someone's book and prepare
00:52 questions and I feel like that's a harder job than talking about your own work.
00:55 So to answer your question, you know, I didn't set out to write a campus novel and I definitely
01:03 didn't set out to write a mystery.
01:06 However, as I started to go along, I just felt like the story, of course, had to be
01:12 set on a US campus because it's a really fertile place for storytelling and especially for
01:19 satire and I work at a university so it's what I know.
01:23 But also I think part of it is that I wouldn't necessarily call it a campus novel.
01:33 However, I've taken some of the traditions and the tropes and the conventions of the
01:39 campus novel and turned them on their head, right?
01:43 Especially I hope you agree because I especially wanted to mess with this sort of, you know,
01:50 we have these, like David Lodge, and you know, I love campus novels and a lot of really wonderful
01:56 writers have written campus novels but typically they tend to be this white male English professor
02:01 who's sort of bumbling but has reckoning and a great moment of triumph in the end and it
02:07 all makes sense, you know, and I wanted to take that and mess with it and not have it
02:15 follow the same trajectory and the same arc.
02:17 So in that regard, it was fun to mess with that and then the mystery thing, I think,
02:22 I just watch a lot of detective mystery and crime and really dark, deep, you know, like
02:28 the Scandinavian noir and the British detective series and stuff and so that started to happen
02:33 in I realized like just holding that tautness of what happens in the book became exciting
02:43 to do.
02:44 >> Well, we cannot say much about what happens in the book because if you haven't read it
02:49 yet, you should read it and we should not just let, you know, too much but one of the
02:55 things that shocked me when I opened the book for the first time and I think it happens
02:59 to everybody, you read, okay, this is a novel about a relation between a male professor
03:03 and a female colleague, whatever, and you open and instead of the expected, which would
03:08 be you were the female voice, you have taken the male voice.
03:15 The book is narrated in the first person and the male is speaking throughout.
03:19 So why did you do that first and how difficult was that to get the right tone?
03:26 Because it sounds pretty male to me but I'm not sure exactly how did you manage to get
03:31 the right tone, which you did.
03:35 >> Thank you for saying that.
03:38 I didn't want to caricature.
03:39 I wanted to write a middle-aged white male English professor's point of view but I didn't
03:44 want to make this typical caricature of an evil racist guy or something.
03:52 But the choice actually, you know, I was attending a previous session where Manjul Bajaj actually
03:58 said that she has control over her characters and I was just thinking, oh, my goodness,
04:02 that must be nice because I feel like I don't as much until I do.
04:07 So initially I'm following what the characters want to do and for me this character, I had
04:14 earlier planned to write the book from three points of view, of the Pakistani woman who's
04:19 a law professor and this white man who's an English professor and the woman's nephew who
04:25 comes from France, Adil, who's a young teenager, 15-year-old.
04:30 And I was writing these three points of view and I found that I kept, this white man's
04:36 voice just kept interrupting and taking over the story and then I kept writing from his
04:41 point of view.
04:42 I would go back, erase it and then rewrite it and I realized, oh, my goodness, I think
04:47 this man wants to tell the whole story.
04:49 And I realized, you know, it's part of like negotiation with the author and the character
04:54 and I realized, okay, so I'm going to have to let him tell the story but I'll tell it
04:58 from under his skin and sort of, you know, do this little subterfuge, you know, by taking
05:04 over.
05:05 He thinks he's telling the story but really I am, right?
05:08 So I did that.
05:10 And then it started to really work because it started to rush out of me and I realized,
05:15 oh, my goodness, this is a voice.
05:16 I didn't know this voice was in me.
05:20 And then I did give it to two white male friends and I said, you know, make yourself useful.
05:25 Read the book and give me some feedback and tell me if I have nailed the voice and they
05:31 said, I think I told you over dinner yesterday what they said.
05:34 I don't know if it's okay to say here but, well, they said, he needs to think a little
05:38 more about sex.
05:40 That's the feedback I got and I was like, oh, okay, okay, I'll do that.
05:44 So the second and third draft had him a little more lean into that aspect a little more.
05:49 But I think with -- this book definitely took multiple drafts and as I did more drafts,
05:55 it got more and more complex and a little more rooted in his voice.
06:00 >> One of the reasons I don't want to tell what's really going on in the book is that,
06:05 you know, it was always said, I remember when I studied literature, you know, Roald Dahl
06:09 and people like that, you know, the twist in the tale sort of short story.
06:13 I lost count of how many twists in the tale are here.
06:16 I mean, whenever you think you are on solid ground, then she goes and twists everything
06:21 again.
06:22 It's like, oh, my God.
06:23 So that takes a lot of planning.
06:25 I mean, this is -- you can't -- you have had to prepare.
06:28 How is your creative process when you have to control the action and really twist it
06:35 just, you know, just the little bit that keeps your attention but not too much to, you know,
06:42 to baffle the reader.
06:44 So how do you do that?
06:45 >> Yeah, that's where all the television watching came in use, which is why I always say, yeah,
06:50 watch a lot of television.
06:51 It's all work.
06:52 It's all work.
06:53 Such hard work.
06:54 And so -- because I love when there are twists, you know, and I hated when -- because I usually
06:59 can tell who done it.
07:01 I can usually tell, oh, my goodness, this is what's going to happen.
07:04 And I hate being right because I like to be surprised.
07:06 And so for me, that was really important.
07:08 However, we are talking about some really dark themes in this book.
07:12 So it's not necessarily just like a, you know, like a little detective story or something,
07:17 right, or a little crime story or any other kind of narrative of that sort.
07:22 So I think what was really important for me was -- so what I did was really the scene
07:28 -- I went with the scenes that came to me.
07:30 And one of the first scenes I wrote, actually, was the penultimate scene where the incident
07:36 that he's telling us about, that happens, right?
07:39 And once I had that down, and then the other -- the next scene I wrote is about this 15-year-old
07:46 boy in Toulouse in France who's watching the police go up to his mother and tell her to
07:51 take off her headscarf or her hijab.
07:53 And so then I was like, how do I put -- are these the same story?
07:58 And how do I -- this man, this white man from America, how is he going to meet this boy?
08:05 And so then the rest of the -- I had to figure out how -- and this was, you know, two ends
08:09 of the novel, and I needed to figure out how this whole arc takes place.
08:13 And I think the story started revealing itself to me, then I would go research a little more,
08:18 and I had to do research with French Muslim families because I knew nothing about that
08:21 world.
08:22 So, yes, putting all these little pieces together and holding on to the tautness of the narrative
08:31 so that we don't -- we know that this is an unreliable narrator and he's lying about something,
08:36 but we don't know what the lie is, and to sort of like keep it and keep it going to
08:40 the end.
08:41 That was -- it became both exhausting, you know, losing sleep --
08:45 >>Keep the tension.
08:46 >>Yeah.
08:47 So I was losing a lot of sleep over it, but I also -- that was so much fun.
08:49 >>Well, it really worked out.
08:51 But one of the things that also surprised me when I read the novel, the novel is set
08:56 in a very specific time in recent U.S. history, which is between the month and the two weeks
09:03 leading up to the elections that gave the victory, contrary to what many of us expected
09:10 to Donald Trump.
09:11 I remember perfectly well going to sleep in my home country in Spain, perfectly confident
09:18 that she was going to win, to wake up to the news the following morning and say, "Oh, my
09:23 God, what has happened?"
09:24 That feeling is in the novel.
09:25 But why did you choose that particular moment in recent American history to be the framework
09:32 of your novel?
09:33 >>Yeah, that's a great question.
09:36 So I'm a recent immigrant -- well, recent as in 20 years, right?
09:39 I grew up in India, in Bombay, and moved to the U.S.
09:44 And of course we had the sense of the U.S. as a certain kind of country.
09:48 You know, there's a sense of entitlement and, you know, all the brutal past and everything.
09:54 But its actual deep-seated racism and sense of a sort of cruelty and a colonization, you
10:05 know, of the mind and of souls revealed itself to me over a period of time.
10:12 And so when the Trump and Hillary elections were happening, I was actually closer to where
10:17 you are.
10:18 I was in France starting to write this novel, which I knew it was a little bit about Islamophobia
10:23 and things, similar to you.
10:25 I go to bed, right?
10:26 And I get a ping in the middle of the night from my son, who was in Seattle, and he says,
10:32 "Oops, you know, I think we all got it wrong.
10:34 Sorry about that."
10:35 And I was like, "What is he apologizing for?
10:37 What is he talking about?"
10:38 And I realized, "Oh, my goodness.
10:40 This has actually happened.
10:42 Trump has won."
10:43 And so that sort of then took over, you know, my sense of things as well.
10:49 And then Trump was talking about the Muslim ban at the time, right?
10:52 So this is 2016, November.
10:54 I'm sitting in France at a writing retreat after doing all my interviews with French
10:57 Muslim families and writing this.
10:59 And I realized this kind of deep Islamophobia in the US and this kind of white fundamentalism,
11:09 this sort of white supremacist kind of thing, it's been there all along.
11:12 And you know, people of color in the US, of course, have been talking about it forever.
11:16 And it's just going to raise, rear its ugly head more and more.
11:22 And so I wanted to, you know, write about that time.
11:25 There was another reason, which is like, I think times of tumult, like times where there
11:30 was the before time and the after time, right?
11:33 Before Trump became president and after Trump became president, that Trumpism has always
11:37 been around.
11:38 But there was, it's pivotal, right?
11:40 I think those are things that we remember, like you remembered where you were when this
11:45 happened.
11:46 And I think those also, just in terms of a device, become really important places in
11:52 which to situate stories, because we all remember who we were at that time, where we were, and
11:57 what we were thinking and what we were dreaming of and what happened after.
12:02 And I mean, let's say, in order not to tell too much, let's say this is a love story,
12:09 shall we?
12:10 To a certain extent.
12:11 To a certain extent.
12:13 Between an aging white male from a Western culture and a younger female Pakistani professor
12:22 of law.
12:23 And they constantly, you have, well, you have his voice, but you have this otherness, right?
12:30 This definition of who she is and who he is in relation to her, as the needs we always
12:37 seem to have to define ourselves in a position to the other.
12:41 So how, why did you, I mean, why did you choose that otherness as one of the key themes of
12:49 your novel?
12:50 And how problematic maybe that became, not only, well, for you to write, and maybe in
12:56 the reception, if you had any feedback on that?
12:59 Oh, that's a great question.
13:01 And I mean, it's got a few layers of answers.
13:06 One is, I have loved a white man, right?
13:12 So I was married, my second husband was a white man.
13:15 This is a lot of revelation.
13:16 At least you're understanding the plot of the novel.
13:20 It's not the plot of the novel.
13:24 But there's a certain kind of navigation and negotiation of otherness in an intimate relationship
13:31 of that kind, right?
13:33 So there's a deep, there's love and there's appreciation, but there's also, if you don't
13:38 manage the differences, it can go horribly wrong.
13:42 And so, I think one of the things I wanted to explore in this book was, who is doing
13:48 all the work of understanding the other, right?
13:51 So as someone who immigrated to the US, and as a woman of color in the US, I have to do
13:59 a lot of work in order to not assimilate, but inculturate myself to whiteness, right?
14:08 And to a white American way of being.
14:10 And I think we do that very well.
14:12 If you grew up in India, you're reading a lot of English literature, you do the work
14:17 and it feels almost easy to fit in and you know that you're going to do it.
14:23 However, if there is love from the other side, how much of that work is being done from the
14:28 other side as well, right?
14:29 So that's something that I was curious about.
14:32 Who fits into whose reality?
14:35 And is a shared sense of values enough?
14:38 Or does politics get in the way?
14:41 And how can it not get in the way?
14:42 Because look at the world that we live in.
14:44 You're going to have to negotiate and who has to shut something down inside?
14:49 And so, that's something I wanted to navigate as well.
14:52 And I actually didn't know how it would turn out for...
14:59 I mean, I knew the incidents that would take place.
15:02 And then, this Oliver Harding, this character that is having these feelings for Aruhaba,
15:09 I actually feel like...
15:10 I feel bad for him because he's also been set up in a way by his own world.
15:16 He's been enabled and enabled and enabled and forgiven and forgiven and forgiven.
15:21 And then, it comes to a head where it just feels like, "Well, if he's never been asked
15:25 to step outside himself and live in another person's shoes, how can we expect that from
15:31 him after a certain period of time?"
15:33 He's just going to keep getting away with things.
15:36 But it's also anotherness from her point of view as someone who has to constantly negotiate
15:43 her religion because of the visible feature of the hijab.
15:48 And there is, I think, one incident, we're not going to say too much, but when she's
15:52 pointed as...
15:53 A Muslim.
15:54 As a Muslim because of the hijab.
15:56 I mean, this is the moment of otherness.
15:59 She's taking out almost of a public space and singled out because of her way of dress.
16:07 How important is that sometimes in the way we assimilate or we don't?
16:12 Yeah, absolutely.
16:13 And I'm not a Muslim woman, right?
16:15 And I'm not a Pakistani.
16:16 So it was very important for me to do that research really well because I didn't want
16:21 to seem to be appropriating a Muslim woman's voice and trying to tell her story.
16:26 And I didn't want to get it wrong, right?
16:29 And also, with the tensions between India and Pakistan and between Hindus and Muslims
16:33 in here and the dynamics of that, I had to be very, very careful that I wasn't misrepresenting
16:42 or also seeming like some sort of a savior.
16:46 So I had to tread all those things.
16:47 And in order to do that, my training is as a journalist and academic, so I turned to
16:52 research.
16:53 So I did a lot of research on the hijab and the sense of control, but also the sense of
16:59 navigating something in America.
17:01 So even Hillary during those election debates in the US was saying, "We want Muslims to
17:06 be the eyes and ears for America.
17:09 We want the good Muslims to be the eyes and ears on the bad Muslims."
17:14 And so I was creating this binary and it was so problematic, I thought.
17:18 So I wanted to take that and do something with that and really look at the othering
17:23 and the Orientalism against Muslim women, especially in the US.
17:30 And I talked to a lot of Muslim women students, faculty on US campuses and see what was their
17:37 experience and then also give it to them to read after and make changes if they suggested
17:41 something and then go back to the research.
17:44 And then partly just inhabit Ruhabah, which I had to do with all the characters, be them
17:49 a little bit.
17:50 So yeah, she's navigating that otherness as well and there's a point where there's a rejection
17:56 of all that work.
17:57 All that work.
17:58 Yeah.
17:59 There's another thing that I thought it was a recurring theme in all your characters in
18:04 the book, which is fear.
18:07 They are all afraid of something.
18:10 Afraid of shootings, afraid of living, afraid of committing, afraid of the world, afraid
18:16 of everything.
18:17 I mean, how important do you think...
18:20 You have...
18:21 Even the police is afraid.
18:24 Everybody is afraid.
18:26 How do you overcome that?
18:27 I mean, how do you...
18:28 Your characters, each of them, you must have thought about this a lot because each of them
18:33 is going to overcome their own fears in a different way.
18:37 So how important for you was the topic or the theme of fear as central to the novel?
18:41 Yeah, you know, it's said that everything we do, we do either out of love or out of
18:47 fear.
18:48 So it was important for me to take both those themes and put them together in the story
18:55 and see what are the choices these three characters are going to make.
18:59 Are they choosing love in this moment or are they choosing their fear?
19:02 Are they giving in to their fear?
19:04 And yes, so the fear, I wanted it to be palpable because I think we live in fearsome times
19:10 or fearful times.
19:11 Yeah.
19:12 Both.
19:13 Both are correct.
19:14 Thank you.
19:16 And when we are called to go beyond fear, I mean, I don't know if I am able to do that
19:23 myself.
19:24 I think I live in fear of several things.
19:28 And so what a great thing to do and mess with other people's fear in writing fiction and
19:34 say like, yeah, looks like maybe you don't get over it.
19:38 And I think over the past few years, it's just intensified.
19:41 I think we all are sort of a little bit coiled in fear and anxiety.
19:47 And I think, you know, we're coming, if we are coming out of a pandemic and we're with
19:52 all these things happening, the rise of the right across the world.
19:58 I think we are justified in being fearful, you know, and the boy Adil too, unfortunately,
20:05 is not immune to the fear because the adults around him are so fearful.
20:10 And then another thing that also, I mean, apart from the, which is the construction
20:14 of your novel, which we talked about before, how you keep on twisting the tail and keeping
20:19 the reader constantly surprised on edge, is the idea of the expectations.
20:25 I mean, you start with the man's expectations, right?
20:30 The female's expectations, the boy's expectations, and everybody seems to be playing everybody,
20:35 which is part of the whole plot, to the point that it's only the young boy who seems to
20:43 have to be honest in his expectations.
20:46 I mean, everybody lies in real life.
20:49 Yeah.
20:50 Most of your characters also lie.
20:52 The boy seems to be honest.
20:53 I mean, is the boy the real hero of the novel?
20:57 How expectations and heroism play together?
21:00 Yeah, I love that you think of him as a hero because, you know, he's such an ordinary boy
21:07 with ordinary wants, and that seems to be heroic now.
21:11 Like, you know, just having ordinary desires and wanting a normal world and an ordinary
21:18 world has become heroic, and it takes heroism on our part to want that and to desire that.
21:27 And I was having this conversation with my son where I had him read, 'cause he's my cruelest
21:31 and truest editor, right?
21:33 He would be like, "Nope, this is crap."
21:35 [laughter]
21:36 So I gave him drafts to read, and he's a young man.
21:40 And so I said, "Does Adil come across as too pure?"
21:46 And he said, "No, he comes across as normal."
21:48 Like this is what normal should be rather than extra special or sweet or something like
21:55 that.
21:56 And it's just that we've strayed so far away from what ought to be normal that we start
22:00 congratulating people on just being decent human beings, you know, and we think that,
22:05 "Oh, you're such a great guy."
22:07 Like I hate the term "great guy," and we use it a lot in the US.
22:11 He's a great guy, and it's like, "Great" actually means something, you know?
22:14 Like let's not use that so loosely.
22:17 But yeah, I think the sense of ordinariness and expecting decency from human beings has
22:25 become greatness now.
22:26 So yes, Adil is a hero in a way to want those things.
22:31 >>And expectations?
22:32 >>Expectations, yeah.
22:33 I mean, I think that's what good fiction for me, you know, each of the characters...
22:41 And when I teach this, I say, "What does your character desire?"
22:45 What do these people want?
22:46 And just keep going, asking that question over and over again.
22:49 What do you want?
22:50 What do you want?
22:51 What do you want?
22:52 And I think that it makes for good writing.
22:55 So I always feel like imbuing each character with deep expectations and desires will sort
23:02 of keep a character compelling in the story.
23:07 >>So, I mean, one of the topics that inevitably, and I think you've already had that in some
23:11 of the reviews that you had to the book, is this is almost like a, not I would say a clash
23:19 of cultures, but it's certainly the East finding the West or vice versa.
23:26 What is your, I mean, is it always going to be like this?
23:29 Is East going to always be East and West?
23:32 Because you're very critical of some of the positions in American academia about Orientalism,
23:38 and at one point you have some characters criticizing openly Edward Said and things
23:42 like that.
23:43 So are we really so far away, and are we always going to be that far away that we cannot understand
23:50 each other?
23:51 I mean, is this a continuum?
23:54 Is there no way that we are going to be able to talk instead of constantly surprise each
24:01 other?
24:02 >>I hope not.
24:03 I hope, in my most honest and purest state, I guess, I wish for an understanding.
24:13 I wish for love.
24:14 I wish for that kind of deep forgiveness and a deep sense of reconciliation and healing
24:21 and all of those things.
24:22 But I think we're in a bad place right now.
24:25 I think everywhere.
24:27 I think somehow the idea of divisions has given us a sense of identity, has deepened
24:35 our own sense of, like, I am someone because I hate someone, or I am someone because I'm
24:39 different from that person.
24:41 And I think that is so damaging.
24:44 But I really, really want to hold on to hope.
24:48 And I do believe, let's just put that out there, that on my best days, I believe that
24:54 is possible.
24:55 I think maybe we are headed to a certain place where we're just going to have to work together
25:00 to haul in the same direction.
25:01 I thought the pandemic was it, you know?
25:03 Like, hey, this is a global thing.
25:06 Let's all work together to haul in the same direction.
25:09 But we went back to our old ways really quickly.
25:13 >>So what's next now for you?
25:16 I mean, you've done this, I repeat it again, a wonderful novel.
25:21 Not a campus novel, but what is...
25:23 You are an academic, what is the next project you have in your hands?
25:26 If you could give us a peek of it.
25:29 >>I started work on a new novel.
25:32 It's not from the white male perspective.
25:34 So that's...
25:35 >>That voice is gone.
25:36 >>That voice is gone, at least for a while.
25:38 I mean, there might be a white male that shows up in the book.
25:41 But it's from a woman's perspective.
25:44 And yeah, I mean, it's still, you know, in its fresh stages.
25:49 But I kind of like satire.
25:50 Like this book is satire.
25:53 And I kind of like doing that.
25:55 So social, you know, commenting on how we are with each other in public and in private
26:01 is really where I find gold, you know.
26:04 So that's what I'm trying to do.
26:05 I'm digging sort of for more gold now.
26:08 >>Right.
26:09 Is betrayal also big in your next novel?
26:12 Because betrayal is big in this novel.
26:14 >>Yeah, I love betrayal.
26:15 I love it.
26:16 >>Loads of betrayal.
26:17 >>So yes, there will be some betrayal, but also love, you know.
26:21 I think I'm writing a love story right now.
26:23 I wouldn't say it's a romance, really, not in terms of the genre.
26:27 But I just want to write a simple love story where some people at least do nice things.
26:33 >>Like Adil.
26:34 >>Yes, like Adil.
26:35 >>The young boy who is madly in love with this girl.
26:39 >>With Camille, and he just wants to go home and ask her out to the movies.
26:42 Yeah, yeah, exactly.
26:43 >>The simple, easy things in life.
26:46 Not set in a campus, you said.
26:48 >>I don't know.
26:49 I think inevitably, you know, because I spend so much time on a campus, I think some characters
26:54 are going to end up on a campus.
26:56 But I'll keep taking them out on a sabbatical.
26:58 >>Okay.
26:59 Leave them on the sabbatical.
27:02 So I think we have now some time for questions, which I'm sure the author would be delighted
27:08 to take.
27:09 Yeah?
27:10 Is there a microphone going somewhere?
27:15 I think the lady in the front lines.
27:18 >>There's someone here, I think.
27:26 >>Maybe we could...
27:32 So maybe...
27:33 Yeah.
27:34 >>Did you want to just come up here?
27:35 >>No, I'm fine.
27:36 >>Okay.
27:37 >>No, I'm fine.
27:38 >>Okay.
27:39 >>Hello.
27:40 Hello.
27:41 Good afternoon, ma'am.
27:42 My question is that, that custom, tradition, and usages of any community or society are
27:43 challenges in the gender equality, gender justice, and gender equality.
27:44 And I'm wondering if you could talk a little bit about that.
27:45 >>Okay.
27:46 So, I'm a student at the University of London.
27:47 I'm a student at the University of London.
27:48 I'm a student at the University of London.
27:49 I'm a student at the University of London.
27:50 I'm a student at the University of London.
27:51 I'm a student at the University of London.
27:52 I'm a student at the University of London.
27:53 I'm a student at the University of London.
27:54 I'm a student at the University of London.
27:55 I'm a student at the University of London.
27:56 I'm a student at the University of London.
27:57 I'm a student at the University of London.
28:21 I'm a student at the University of London.
28:47 I'm a student at the University of London.
29:16 I'm a student at the University of London.
29:17 I'm a student at the University of London.
29:18 I'm a student at the University of London.
29:19 I'm a student at the University of London.
29:20 I'm a student at the University of London.
29:21 I'm a student at the University of London.
29:22 I'm a student at the University of London.
29:23 I'm a student at the University of London.
29:24 I'm a student at the University of London.
29:25 I'm a student at the University of London.
29:26 I'm a student at the University of London.
29:27 I'm a student at the University of London.
29:28 I'm a student at the University of London.
29:29 I'm a student at the University of London.
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29:31 I'm a student at the University of London.
29:32 I'm a student at the University of London.
29:33 I'm a student at the University of London.
29:34 I'm a student at the University of London.
29:58 I'm a student at the University of London.
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30:35 I'm a student at the University of London.
30:36 I'm a student at the University of London.
30:37 I'm a student at the University of London.
30:38 I'm a student at the University of London.
30:39 I'm a student at the University of London.
30:40 I'm a student at the University of London.
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30:43 I'm a student at the University of London.
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31:09 I'm a student at the University of London.
31:16 I'm a student at the University of London.
31:17 I'm a student at the University of London.
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31:19 I'm a student at the University of London.
31:20 I'm a student at the University of London.
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31:24 I'm a student at the University of London.
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31:27 I'm a student at the University of London.
31:28 I'm a student at the University of London.
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31:40 I'm a student at the University of London.
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32:12 I'm a student at the University of London.
32:38 I'm a student at the University of London.
32:49 I'm a student at the University of London.
32:56 I'm a student at the University of London.
33:02 I'm a student at the University of London.
33:09 I'm a student at the University of London.
33:14 I'm a student at the University of London.
33:17 I'm a student at the University of London.
33:20 I'm a student at the University of London.
33:23 I'm a student at the University of London.
33:26 I'm a student at the University of London.
33:29 I'm a student at the University of London.
33:32 I'm a student at the University of London.
33:35 I'm a student at the University of London.
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33:41 I'm a student at the University of London.
33:44 I'm a student at the University of London.
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33:50 I'm a student at the University of London.
33:53 I'm a student at the University of London.
33:56 I'm a student at the University of London.
33:59 I'm a student at the University of London.
34:02 I'm a student at the University of London.
34:05 I'm a student at the University of London.
34:08 I'm a student at the University of London.
34:11 I'm a student at the University of London.
34:14 I'm a student at the University of London.
34:17 I'm a student at the University of London.
34:20 I'm a student at the University of London.
34:23 I'm a student at the University of London.
34:26 I'm a student at the University of London.
34:29 I'm a student at the University of London.
34:32 I'm a student at the University of London.
34:35 I'm a student at the University of London.
34:38 I'm a student at the University of London.
34:41 I'm a student at the University of London.
34:44 I'm a student at the University of London.
34:47 I'm a student at the University of London.
34:50 I'm a student at the University of London.
34:53 I'm a student at the University of London.
34:56 I'm a student at the University of London.
34:59 I'm a student at the University of London.
35:02 I'm a student at the University of London.
35:05 I'm a student at the University of London.
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35:11 I'm a student at the University of London.
35:14 I'm a student at the University of London.
35:17 I'm a student at the University of London.
35:20 I'm a student at the University of London.
35:23 I'm a student at the University of London.
35:26 I'm a student at the University of London.
35:29 I'm a student at the University of London.
35:32 I'm a student at the University of London.
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36:23 I'm a student at the University of London.
36:26 I'm a student at the University of London.
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36:41 I'm a student at the University of London.
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36:50 I'm a student at the University of London.
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37:02 I'm a student at the University of London.
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37:11 I'm a student at the University of London.
37:14 I'm a student at the University of London.
37:17 I'm a student at the University of London.
37:20 I'm a student at the University of London.
37:23 I'm a student at the University of London.
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37:38 I'm a student at the University of London.
37:41 I'm a student at the University of London.
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37:47 I'm a student at the University of London.
37:50 I'm a student at the University of London.
37:53 I'm a student at the University of London.
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37:59 I'm a student at the University of London.
38:02 I'm a student at the University of London.
38:05 I'm a student at the University of London.
38:08 I'm a student at the University of London.
38:11 I'm a student at the University of London.
38:14 I'm a student at the University of London.
38:17 I'm a student at the University of London.
38:20 I'm a student at the University of London.
38:23 I'm a student at the University of London.
38:26 I'm a student at the University of London.
38:29 I'm a student at the University of London.
38:32 I'm a student at the University of London.
38:35 I'm a student at the University of London.
38:38 I'm a student at the University of London.
38:41 I'm a student at the University of London.
38:44 I'm a student at the University of London.
38:47 I'm a student at the University of London.
38:50 I'm a student at the University of London.
38:53 I'm a student at the University of London.
38:56 I'm a student at the University of London.
38:59 I'm a student at the University of London.
39:02 I'm a student at the University of London.
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39:17 I'm a student at the University of London.
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39:23 I'm a student at the University of London.
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