Well, I'm Max and Jacobowski, I'm a writer, I'm an editor, I'm an ex-publisher, I'm a book collector, and probably a few other things on the side. I think my first encounter with Donald Westlake was actually when he was assuming another name, and he used to write science fiction and he wrote a book called Unarcheos, which I remember with Lava Lurewid, South-Sweet and Cover in the very old style, and the very old pop style. And I began, actually, as a science fiction fan in my teens, I think, I started writing when I was 14 or 15, at 16 I joined the science fiction fandom, actually the fan scene also, and obviously he was a major collector of everything that was written in Vajora, and I came across what I think is probably one of these. He's only, if not the only, a science fiction book he wrote, and he's then a science fiction pen name. Obviously, I didn't know he was Westlake, so the book is probably still on my shelf somewhere, even though I haven't read it, probably since I was 17 or 18. And it was only later that I got into, so to speak, crime fiction, and obviously the moment I did that, I came across the real Donald Westlake, I mean, the Donald Westlake who wrote the UMUS, the Ottoman book, of course, the other Westlake, the Richard Stark, Parker books, which of course are so much more hard-boiled, and also some of the big, and for me, very important books, which are the non-series books. In my own writing, whether within the crime genre elsewhere, I also have a lot of books or stories about writers, writers fascinate me, and the books are not autobiographical, I like, using writers as the source. And those were books I really was into quite heavily. I finally met Don many, many years later when I started attending Bouchercon's conventions in America, which I did for about 12 years in a row as I was the co-chairman of the Nottingham Bouchercon, which was only the second time Bouchercon came to the UK. And I come, remember, at which particular Bouchercon I first met Don, and we got on immediately, I mean, we had a lot in common in terms of our tastes. And obviously I'm also fairly active on the film trial, doesn't review as a curator, and organise our film festivals, and of course that was another reason that brought us together. And then everything seemed to conspire to bring us together even more. I came across these long novella Audo, at a time when I was commissioned by a British publisher, to do a new collection of pop fiction, and I wanted some modern examples of pop fiction, and for me Audo was such a lovely story, so I included it. And I think one year later we spent quite a bit of time together for the first time at a film festival, literally, where the Gryfters was being shown for the first time. And the reason I was invited to the festival was not because I was familiar with the scriptwriter, I don't know, Westling, but purely because I happened to be at the time the British publisher of Tim Thompson, and I was the publisher of the Gryfters, and I was invited to the festival. And we spent a few days basically having all our meals and drinks together, even though I don't drink. But I was the one at the bar having the Coca-Cola, which I think the forwarded Don, rather, by smile. And then we kept on meeting over a period of probably about 15 to 20 years, almost yearly, somewhere in the world, often in France, often in Italy, as we both attend a lot of events there. And I've never published him after that. I've never had the opportunity, but which always sadden me, but I've always felt very difficult to convince my accountants in various publishing houses that one could start publishing more Don or Westling, or actually the rich of Starbucks, because obviously by then there were so many in the backlist, and one couldn't just take one book at random. So that's been one of the sadness of my relationship of sorts, so we've done over the years. And on a few occasions I've done interviews on stage with him at London's National Film Theatre now, as it's known as the BFI Self Bank, we had some wonderful, impromptu conversations on stage and then answering questions on the audience. And I knew that the wonderful thing we've done is apart from obviously he's wonderful qualities, as a writer, and of course as a wonderful person, was if you had him on stage and you were doing something formal, all you had to do was in a way press that invisible button and the anecdote, so he's wonderful, and the lesson about life and about writing, and about the writing life would come out so naturally and always delightful. And I think he was always a huge hit with all your things.