Scholars: Up for Multiple Roles in the Movement

Though the United States is quickly approaching a Latinx majority (2044 is the projected year), Latinx theatre remains largely invisible despite the presence of some high-profile artists—Lin-Manuel Miranda, Quiara Alegría Hudes, Karen Zacarías, Melinda Lopez—and a robust national movement spearheaded by the Latina/o Theatre Commons (LTC). One place it’s increasingly visible, though, is among scholars, who have been welcomed and woven into the fabric of the LTC. Why are scholars suddenly being so thoroughly taken into the fold now? Where have they been all these years? And might they have a role in increasing the wider visibility of a movement that’s gained increased coherence and purpose in recent years?

Scholarship around Latino theatre—or teatro, as it’s commonly known in the movement—traces its origins to Jorge Huerta, who received his doctorate in 1974, becoming not only the first Chicano with a Ph.D in theatre but also the first person to formally study Latino theatre. By the turn of the 21st century, enough scholars had done graduate work in Latino theatre and performance that Irma Mayorga, assistant professor of theatre at Dartmouth College, and Ramón Rivera-Servera, associate professor of performance studies at Northwestern University, were able to found the Latina/o Focus Group of the Association for Theatre in Higher Education.

Still, there haven’t been many scholars studying teatro. That began to change in 2013, when the LTC emerged with a national convening at Emerson College in Boston. The newly formed LTC steering committee met with Latino theatremakers from a diverse array of artistic disciplines, regions, career stages, genders, and sexual orientations. In partnership with HowlRound, the LTC formed to create, in its official words, a “national movement that uses a commons-based approach to transform the narrative of the American theatre, to amplify the visibility of Latina/o performance making, and to champion equity through advocacy, art making, convening, and scholarship.”

Continue reading at American Theatre Magazine.

Artist Profile: Malcolm Friend

Name: Malcolm Friendmalcolm-friend-2

Hometown: Seattle, Washington

Residence: Pittsburgh, PA

What is your earliest memory of writing?

This isn’t a memory of writing, exactly, but I remember that when I was really young (it was either pre-school or early elementary), my older sister had a goldfish. I used to draw pictures to place behind its fishbowl and as I drew them I would be coming up with stories behind them—almost like a movie or maybe even a TV episode since they always seemed to revolve around the same characters. In terms of my first memory of actually writing down some of those stories, it has to be third grade. We had journals we were required to write in and I would always write stories in them, fictions where my friends and classmates were the main characters.

How did you become a writer?

My mom likes to tell this story where I was first learning how to write and I kept bugging her to teach me some letter or spelling and I told her “I have to know because I’m gonna be a writer when I grow up.” While I have no idea whether or not that story is real (I take her word for it most times; sometimes I think it’s a sort of origin myth), I do know that I “became” a writer fairly early in life and really do have to go back to those early journaling experiences. There was a certain joy they brought to writing and also a certain ritual. There was a specific time of day every day that we were supposed be writing. When I switched schools in fifth grade, journaling was still a requirement, where we had to produce a certain number of pages per week for homework in Language Arts. All of that got me into the ritual of writing and the practice of setting time aside to write. By the time I was in seventh grade I had fashioned myself a writer and knew that’s what I wanted to be.

Tell us about your writing process.

My writing process starts before there’s any actual writing done. I’ll spend days, sometimes weeks, just repeating a line (in my head and out loud) that I’m obsessed with but don’t know how to place a full poem around. I’ll do this on the bus, in between classes, between grading papers, as much as I need to until I get another line or two that I think I can base the poem around.

Once I actually start writing, it pretty much always starts with music. I grew up in a household where music was frequently present. My dad puts on music whenever there’s nothing on TV and my mom plays music sometimes when she cooks and pretty much always whenever she decides it’s a cleaning day in the house, especially around the holidays. I got used to working with music in the background, to moving with a beat in my head. Plus growing up with three siblings I just got used to noise being in the house and kind of need it to work. If what I’m writing is related to a specific artist or song (as it frequently is), I’ll listen to that artist or song on repeat while I’m writing. Otherwise I put on reggaetón, because the beats are so repetitive and it allows me to stay within sort of the same space mentally.

As I’m writing I’m also saying everything out loud (or wording it, depending on whether or not other people are in the room). That way if anything sounds kind of funky, I can just scrap it immediately or change it into something similar that sounds better, or even switch up the order of the poem to where the different grouping of words sounds better. I keep up with this until I have a draft of poem that I feel satisfied with, sometimes meaning I feel the poem is done or just needs minor edits, others meaning I’m ready to share them with other people and get feedback on them, and then some others that the poem itself isn’t going anywhere but I feel I’ve gained something from the writing process and from writing that poem in particular.

What are you working on now?

I’m currently working on my thesis at the University of Pittsburgh, which will hopefully turn into my first manuscript. The work is really drawing off of my experiences growing up in a mixed cultural household (my mom being African American, my dad Puerto Rican), and how different influences (friends, family, pop culture, literature) affect how you interact with or claim a cultural heritage. In it I’m also interested in looking at different iterations of blackness across the diaspora as both of my parents are part of the African diaspora and, regardless of what heritage or heritages I claim, my body is read as such—as black—in many spaces around the world.

malcolm-friend-3

Have you ever suffered from writer’s block?

Absolutely. There are good days for writing, when everything is running smoothly and there are bad days, when every line I write comes with difficulty and feels like the worst thing I’ve ever written. Usually I take it to mean I’m too much wrapped up in myself and not open to letting the poem take me anywhere. At that point I usually find some household chore that needs to be done (do the dishes, cook dinner, etc.) in order to pull myself out of my head for a little while until I’m ready to get back into that writing space.

Which writers and teachers have most influenced you as a writer?

In terms of writers, I absolutely have to name Langston Hughes first. Hughes was the first poet I read and enjoyed and a good deal of my early poetry was me trying to imitate Hughes—the first form I learned was Blues and the Blues poem. And then I also have to writers like Rita Dove, Kevin Young, and Martin Espada, who gave me contemporary examples of things I wanted to write about.

In terms of teachers I have to give a shout out to Mark Jarman, Rick Hilles, and Beth Bachmann, who were all teachers of mine in college. I point to Jarman because it was during his poetry workshop as a junior in college that I realized I wanted to seriously be a poet (I had originally come into college wanting to be a fiction writer). He was also the person who turned me onto Espada, lending me his copies of both Imagine the Angels of Bread and City of Coughing and Dead Radiators. I point out Hilles and Bachmann because they believed in me and worked with me my senior year of college. I highlight this because it showed me the importance of teaching to writing, and what having people in your corner can do for a young writer. And along those lines I also have to highlight Yona Harvey here at Pitt. As my first graduate workshop teacher, she really whipped me into shape and helped get my poems. But she did it in such a nurturing way that I never felt like I couldn’t write and I could tell that it was out of care. She was also the first Black writing instructor I had ever had and that was a big for me. Her presence alone was an affirmation to my place in an MFA program but also her comments on some of my work, pointing out that certain things reminded her of experiences she was familiar with, affirmed me as a writer.

What books have had the biggest impact on your trajectory?

The Collected Poems of Langston Hughes– I first learned to write poetry by reading it and Hughes was a big part of that, really what made me want to continue writing poetry. During my junior year of college I checked out a copy from the Seattle Public Library and just kept renewing it, hoping no one would place a hold on it and that I’d have to take it back.

Thomas and Beulah by Rita Dove- This wasn’t the first book by Dove that I read but it’s probably the one that sticks with me the most. Thomas and Beulah got me thinking much more so about how poetry can serve as something to document history and in particular to document family history.

La Carreta Made a U-turn by Tato Laviera- This book was big for me because going into my junior year of college I had never read a Puerto Rican author before. I mentioned Jarman turning me onto Martin Espada, and that made me want more. The Vanderbilt library had copies of all of Laviera’s poetry collections, and I dug in, completely caught by Laviera’s attention to Afrolatinidad and the connection between different populations in the African diaspora. Laviera was the first Afro-Latinx poet I read and made me feel for the first time that I didn’t have to choose between being Black or Puerto Rican because I could be both.

Reggaeton, edited by Wayne Marshall, Deborah Pacini Hernandez, and Raquel Rivera- This is a recent add to the list and the only scholarly/critical text, but I turned to this book last year while working on a project about Puerto Rican national music and what claiming reggaetón as Puerto Rican means. Going through the book and seeing how much a part of the African diaspora reggaetón is (having ties to Jamaican dancehall and hip hop in the States, being tied to Afro-Panamanian reggae en español, growing in San Juan neighborhoods populated by poor Afro-Puerto Ricans and Dominicans, etc.), reggaetón became something that I started writing not just through but about.

What’s your advice to aspiring writers?

First, read. A lot. I first learned how to write poetry by trying to imitate the writers I loved to read. And I’m not saying “just reproduce what’s already been done because that’s the only way to write,” but rather that there are things to learn from other writers. Some writers will teach you imagery, some will teach you form, somehow to turn a phrase—and good writers will take lessons and techniques from the writers they enjoy reading and turn them into tools for their own benefit.

The second piece of advice is to find a writing family. And there are a number of ways to do this, whether through school clubs, classes, or even outside workshops. It’s just that there’s this idea that writing is something solitary and I think that’s only half-true. Absolutely you need time by yourself, away from distractions, in order to reflect and write. But you really get better by opening that up to the world; by both opening yourself to critique through sharing your work and by surrounding yourself with other writers who push you to stay on top of your game with their own work.

***For more on Malcolm Friend, see:malcolm-friend-1

 

Artist Profile: Luis Galindo

Name: Luis Galindoluis-galindo

Hometown: Alvin, TX

Residence: Houston, TX

What is your earliest memory of writing?

My earliest memory of writing would be writing a letter to Santa Claus in the first grade, I think, and asking him how the reindeer and Mrs. Claus were doing and then launching right into my wish list of Star Wars action figures and skateboards and footballs and the like.

How did you become a writer?

I became a writer when the stage became too small. I am an actor by training and trade and the need to seek out new avenues of self-expression became overpowering. I can’t paint worth a damn and my musicianship has remained at novice level for decades, so I picked up a pen, instead.

I was a member of a popular Shakespeare company in Los Angeles and I did Shakespeare plays almost exclusively for years, and then one day, even the bard’s words weren’t enough for me anymore, I wanted to say what was on my mind, I needed to, so I started writing down ideas. The words came out with melodies, initially and I thought, “ Oh, I am supposed to write songs.” but then the melodies went away but the words kept coming, so I became a poet instead due to the thoughts learning to take the path of least resistance from mind to page.

Tell us about your writing process.

The writing process is tricky. I sit down with every intention of writing a poem and I will just start. Writing freely and trying not to think too much. Then the idea will present itself, maybe in a phrase or a pair of words and that will lead me to the shape of what it is that is trying to get out, or an idea that I am trying to make, make sense. Other times the poems won’t let me sleep at night and I have to get them out or I know they will be gone forever. Also, if I let them linger too long I will lose interest or they will transform into something less powerful to me. Sometimes I just have to stop for a while and let the ideas percolate. Other times I will hear a word or a phrase in a conversation or on the news that will send me down a poem rabbit hole and I just follow it, hoping to find something worthwhile.

What are you working on now?

Right now I am working on a new collection of poems. It will be released in the next few months.

A very good friend of mine who lives in Los Angeles is editing it for me. (He also edited the first collection I wrote) We are almost done now. It is called Grace and Fury and right now is at about 60 pieces and I have no doubt that number will decrease in the next few weeks.

Have you ever suffered from writer’s block?

I suffer from writer’s block a lot and it is no fun. I try to be patient and keep at it but sometimes the sense of defeat is so much that I just want to quit all together. Other times, I am able to write my way out.

Which writers and teachers have most influenced you as a writer?

The writers and teachers that have influenced me the most have been Juan Felipe Herrera, Dylan Thomas, Bukowski (I know, I know, but I believe he is truly great). Right now Matthew Dickman is what I am reading. I am really into his work right now.

I’ve never taken a writing class before. I think I probably should.

What books have had the biggest impact on your trajectory?

I would say the books that have had the biggest impact on me have been Book of Lives by Juan Felipe Herrera, I was blown away from the first page and immediately re-read the whole thing as soon as I finished it.

Burning in Water, Drowning in Flame by Charles Bukowski—This one was a game changer. I was young and confused and dark and sad and this book made so much sense to me that it has remained one of my all-time favorites. It is very special to me.

Two books that are not poetry, yet I cannot escape from are Sexus by Henry Miller and Blood Meridian (Or the Evening Redness in the West) by Cormac McCarthy

Miller shook me up in a way that made me question everything I believed and made me laugh and cry while doing it. Truly magnificent.

As for Blood Meridian, well, it is a book that is so terrifying, so horribly powerful that I have to put it down after just a few pages of reading. I re visit it from time to time, but, only in small doses. Downright Biblical. These two books have impacted me as greatly as any music, painting or poem anytime anywhere.

What’s your advice to aspiring writers?

My advice to aspiring writers is, try to stop sounding like your influences as soon as possible. You have a voice and it’s the one we need right now.

luis-galindo-2

Luis Galindo in “The Elaborate Entrance of Chad Deity” at Stages Rep in 2015

Artist Profile: Hugo Esteban Rodríguez

Name: Hugo Esteban Rodríguez Castañeda

Hometown: Heroica Matamoros, Tamaulipas, Mexico; and Brownsville, Texas, U.S.A. To clarify, I was born and raised in Matamoros but came to adulthood in Brownsville, so I’m both from Mexico and the Rio Grande Valley.

Residence: Houston, Texas.

What is your earliest memory of writing? I want to say writing bad fan-fiction when I was 12, but I also have vague memories of the year before, being in the fifth grade and writing my own “school newspaper” and reporting on elementary school drama.

How did you become a writer?

I grew up surrounded by books and learned to love them because of my father and grandfather. It was only a natural jump to go from seeing how much books could do for people to wanting to evoke that same kind of feeling myself. I think the best way I can explain this is when I was reading the Harry Potter series as a kid, I felt actual regret that I couldn’t go to Hogwarts. I’ve always been enthralled by superheroes and supervillains, so I believe that being able to create those emotions with just your words is as close as I’ll get to actual superpowers. Plus, if videogames have taught me anything, it’s that getting bombarded with heavy doses of radiation isn’t exactly healthy.

Tell us about your writing process.

It’s a two-part process given that I am both a poet and a writer. For my poetry, I write out my poems in a journal I carry with me most of the time. Then I let them sit there for a week, then once the week passes, I take a look at the poem again and type it up. If I like it, I’ll save it in a ‘holding’ folder on my computer, then revisit it in a week and if it is good enough, I add it to my collection. If it at any point in the process I don’t like it, I’ll salvage what I can and then I start over.

For my fiction, I have a much more simpler approach. I just channel the inner voice that goes, “Wow! Wouldn’t it be cool if…” and write stories on that without placing limits on how weird, boring, or strange something is. I have a piece out that’s based on a time-traveling swimming pool. I have another that’s an ode to alienation featuring a man that is also a car, and I recently wrote a story about skin cells in a mattress. Hell, sometimes I’ll just stack up two poems together and make a story out of it.

What are you working on now?

A lot! My main focus right now is seeking representation for my first manuscript, a collection of short stories with the common theme of mental illness. My other projects include writing more flash fiction in the hopes of creating a second short story collection. I’m also planning on finishing the edits to my poetry manuscript. And ALSO I just added a vlog component to my website, so I’ve been pretty busy outside my day job.

Have you ever suffered from writer’s block?

There are two kinds of writers: Those who have struggled with writer’s block; and damn liars.

Which writers and teachers have most influenced you as a writer?

I’m blessed that every teacher I’ve had has influenced me in one way or another. But I’d like to take some time to honor them. In elementary school, my teacher Ms. Diaz really emphasized the importance of reading and writing. In high school, Mrs. Saenz really reinforced the importance of having discipline, which is absolutely instrumental for any writer. In college, Azenett Cornejo was the program coordinator for the student newspaper where I worked throughout my undergraduate career. There’s a lot of lessons I learned from her that I still employ in my day-to-day life as both a writer and as a grown adult, but if there’s one trait she nurtured in me, was the importance of having an eye for detail and thinking on my feet. Finally, in my MFA program, I had the privilege and opportunity of learning under the tutelage of established poets and writers. If I’m picking two, I’m picking Sasha Pimentel and Daniel Chacón. Professor Pimentel taught me to love poetry, and Professor Chacón, was instrumental in placing me on the short story track I’m in.

What books have had the biggest impact on your trajectory?

  • Howard Zinn’s A People’s History of the United States
  • JK Rowling’s Harry Potter and the Goblet of Fire
  • William King’s Trollslayer (from the Gotrek and Felix series)
  • Stephen King’s On Writing
  • Erich Maria Remarque’s All Quiet on the Western Front
  • Benjamin Alire Saenz’s Everything Begins and Ends at the Kentucky Club

What’s your advice to aspiring writers?

There’s a lot of hard work involved in this field. There’s going to be some nights you’re going to pass out at your desk. There’s going to be times when you forget to eat. This field is going to take your blood, sweat, tears and time and…it’s going to be worth it. You are going to come up with something that’s going to make people feel and it is such a rewarding feeling when you see that. Another thing I’d advice is take on day jobs if you have to. There’s no shame in wanting to be gainfully employed while you work on a writing career. Some people glorify the “starving” part of “starving artist” and it’s a bit nonsensical. You don’t have to be homeless or unemployed to have the kind of hustle, hunger, and chip on shoulder necessary to thrive in this field.

hugo-1

***For more on Hugo Esteban Rodríguez, see:

Daily Cougar Profile

Profile Friday: Hispanic studies professor elevates Latinx playwrights

By: Doug Van

September 23, 2016

If ever there was proof that you don’t need to choose between work and love of the arts, you can find it in Trevor Boffone.

As a lecturer in both the Hispanic Studies and the Women’s, Gender, and Sexuality Studies Departments, Boffone has found a way to also make theater an important part of what he does. While his paid work at UH does not necessarily dovetail with his dramaturgical endeavors, he has become a passionate advocate.

To continue reading, click here.

Thoughts on Theatre Under The Stars’ IN THE HEIGHTS

After I saw In the Heights on Broadway in 2008, I left the Richard Rodgers, went to my hotel room, and immediately tried to break dance. Hilarity ensued. Graffiti Pete I was not. Fast forward 8 years to Theatre Under The Stars’ (TUTS) production of Lin-Manuel Miranda and Quiara Alegría Hudes’ hit musical, and I am still trying to move like the fictional residents of Washington Heights.

Dear reader, I have never and likely will never be able to break dance, pop-n-lock, or anything in between. No amount of In the Heights will fix that. But that doesn’t change my relationship with the show. As a musical theatre-phile and Spanish-speaker, seeing the show in 2008 was the first time that I felt these two worlds collide. Even though I am not Latino and don’t necessarily relate to the characters in the show, I felt represented in some odd way.  And, as a Latin@ theatre scholar, I’m invested in the skyrocketing careers of both Miranda and Hudes, two of only three Latin@ playwrights to win the Pulitzer Prize for Drama (the other is Nilo Cruz).

In many ways, I feel like In the Heights always keeps coming back to me. And then one night you are scrolling through your Facebook news feed and there is In the Heights embroiled in controversy over the casting and hiring of artistic staff at Chicago’s Porchlight Music Theatre. Enraged, I checked my facts, and wrote a blog, thinking that no one would read it (See: “Casting an ‘Authentic’ In the Heights”). The next day it quickly went viral (well, viral for trevorboffone.com). All of a sudden, people were citing me and interviewing me about my thoughts on race, ethnicity, and casting in the show. Soon thereafter, I started writing an article about race, ethnicity, power, whitewashing, and representation in post-Hamilton productions of the show to submit to a peer-reviewed academic journal. And all the while, I was keeping my eyes on TUTS’ 2016-17 season opening performance of the show.

While I won’t formally review the show here and will save my detailed thoughts for later, I do want to take some time to address several thoughts about TUTS’ production of In the Heights.

Usnavi is everything—When Usnavi makes his entrance at the top of the show, he introduces the audience to the familia to which we are about to bear witness. He is the show’s narrator and, therefore, we enter the community through him. Given this, the actor must be able to carry the show, not in the same way as Mamma Rose or Tevye, but Usnavi must make the audience fall for him. We need to not only want to visit his bodega, but we need to feel like we already frequent it and take our coffee light and sweet. This is to say that casting this character is pivotal to a successful production that speaks with the Latin@ community. As such, Usnavi is a beloved musical theatre character and one of the few Latin@ characters to lead a Broadway musical. TUTS made a great choice in casting Anthony Lee Medina as Usnavi. Medina’s tweet below just shows how much this role means to him and the Latin@ community. Not to mention it reiterates the importance of casting this role with a Latino actor. How often do Latin@s get to play dream roles that are roles specifically written for them?

Stepping into a role so closely associated with Lin-Manuel Miranda surely must have been daunting, but Medina delivers as the man in the Kangol hat. Medina is charismatic, funny, and engaging. In addition to being a first-class actor, he raps with ease and dances like a drunk Chita Rivera. Medina is ready for the spotlight and there is no reason he shouldn’t play Curly, Pippin, or Bobby (give him a few years!).

Jonathan Arana as Piragua Guy & Anthony Lee Medina as Usnavi. Photo by Os Galindo

Jonathan Arana as Piragua Guy & Anthony Lee Medina as Usnavi. Photo by Os Galindo

Sheldon Epps—Last week, I told The Houston Chronicle’s Theatre Critic Wei-Huan Chen that Sheldon Epps leadership as Artistic Advisor at TUTS was a big move in a city whose major arts organizations are so heavily run by Anglos. Given the fact that Houston is the nation’s most racially diverse city, a black person in such a high leadership position shouldn’t be surprising nor should we consider it a “big move,” but here, in 2016, it is. That Epps came in and replaced Shrek, Jesus Christ Superstar, and Grease with In the Heights, Into the Woods, and Dreamgirls just demonstrates that he is looking to center TUTS as one of the leading producers of musical theatre in the country and produce work that speaks to Houston in 2016. While In the Heights and Dreamgirls offer a rare opportunity for local audiences to see people of color on a major stage (How many times have you seen two dozen people of color on stage at the Hobby Center?), Into the Woods also offers the opportunity to cast people of color in leading roles. Why not a black Baker? Or a Latina Baker’s Wife? An Indian-American Jack? Simple casting choices could potentially have a significant ripple effect in Houston. Just look at the new layers that The Catastrophic Theatre added to their 2016 production of Buried Child by casting a black woman as Shelly. To put it simply, it was a revelation and shed new light on a show that has been around for almost 40 years. We need more of this work and TUTS can be be a leader in providing access for actors of color in Houston.

Hopefully, programming diversity on stage will bring more diverse crowds into the Hobby Center. However, if TUTS really wants to build audiences and draw new people to the theatre, then it absolutely must address the high cost of tickets. The cheapest seats for In the Heights are $46.50 including fees, not to mention parking which is $12 in the Hobby Center garage. Why not offer discounted tickets for veterans and people under 35, rush seats, etc? TUTS does have a Student & Senior Rush Policy (Student and Senior (65+) rush is available starting one hour before curtain with valid id. Tickets are 50% off in price levels 2-5). However, this information is not easily accessible on their website, leading many to believe that they don’t offer such discounts. I recognize that with touring shows discounted tickets might not be possible, but for TUTS-produced shows such as In the Heights, discounted tickets have the potential to be a game changer. In the Heights should not be a luxury. People should not be turned off from seeing this important show based on ticket prices alone.

The Cast of In The Heights. Photo by Os Galindo

The Cast of In The Heights. Photo by Os Galindo

Artist Profile: Sarah Rafael García

Name: Sarah Rafael Garcíasarah-rafael-garcia

Hometown: Born in Brownsville, Texas and raised in Santa Ana, California, I claim both.

Residence: Austin, Texas and Santa Ana, California: one a residence with my life partner as he completes his PhD at UT at Austin and currently an artist in residence at Grand Central Art Center in Santa Ana.

What is your earliest memory of writing?

I started writing after the unexpected death of my father in 1988, I was thirteen. A bereavement social worker, at the hospital where my father passed away, handed me my first journal and advice to use writing as a source of consolation.

How did you become a writer?

In 2004, I ran away from Corporate America and the “American Dream” to live in Beijing as an English teacher and write my first book for 18 months. At the time, I was stressed and disillusioned about many expectations in my life—becoming financially successful, getting married, having children and supporting my sisters and mother. I have been writing since 1988 but never shared my work with anyone outside of my immediate family. I was waiting to retire (with tons a money) and spend beach vacations writing my childhood stories. Yeah I know, not realistic, but since I didn’t grow up with any mentors or support to be a writer that’s all I could imagine for myself, since I had to have a “real” career.

Tell us about your writing process.

I started writing by journaling, with the occasional poem sneaking onto the page. Then I moved on to writing memories, which led me to deconstruct my identity as a first generation college student, Chicana and woman of color—who never married nor has children. But of course that came after I completed a degree in Sociology. After my first book was published in 2008, I recognized I needed to learn more and wanted to offer more to my community. In 2009, I founded Barrio Writers. By leading writing workshops for youth, I broadened my writing interests as well as my style. I began to use more code-switching, experimental format as well as spoken word. Then in 2012, Barrio Writers led me to seek a M.F.A in Creative Writing. I had not written fiction until I submitted a writing sample for M.F.A. applications. Now, I write a lot of hybrid stories—a cross between fiction and non-fiction, contemporary narratives of women and my community. I select a gender role imposed on women or cultural community issue and find a way to tell a story through fiction—sometimes it’s like an ethnographic description, other times it transforms into a parallel world through the lens of magical realism. As far as the process, once I’ve done research into the theme and written 2-3 pages into a story, I become a weaver. I write, go back to the beginning and edit, write 2-4 more pages, maybe do some more research (read literature, look up relevant stuff), go back to the beginning and edit, and the cycle continues until I get to the ending. It’s a love-hate relationship, I love how it all turns out in the end, but some days I lose my patience with editing from the beginning over and over again. I’ve learned to see it as weaving—something that needs to be done to hold it all together, to create details at a micro level but eventually create a pattern only visible at a macro level. I would have laughed aloud and walked back into my 10×10 corporate America cubicle if I was told this had to be my writing process back in 2004. But here I am…

What are you working on now?  

I focus on contemporary female narratives, which include identity, gender and cultural themes. Currently, I am seeking to publish a travel memoir that shares my adventures as a Xicana crossing, literal and figurative, borders. Along with this, I also wrote a collection of feminist short stories as my MFA thesis. The short stories are inspired by news headlines or a quote that typecast female narratives. I use magical realism and play with point of view to deconstruct the role and stereotypes of women in our society.

As part of my artist in residence, I’m working on a special project from March 2016-2017. SanTana’s Fairy Tales is an oral history, storytelling project, which integrates community-based narratives to create contemporary fairy tales and fables that represent the history and stories of Mexican/Mexican-American residents of Santa Ana (inspired by the Grimms’ Fairy Tales).

The forthcoming exhibit at Grand Central Art Center in Santa Ana, California will present a multi-media installation, curated in collaboration with local visual, musical, and performance artists. The exhibit will showcase bilingual, single-story zines, a fully illustrated published book, an ebook, a large format classical book, graphic art by Sol Art Radio‘s Carla Zarate, an “open book” performance, along with composed music by Viento Callejero‘s Gloria Estrada, who is supported by local singer/songwriter Ruby Castellanos and members of the Pacific Symphony. The entire collection will be translated by poet Julieta Corpus and published by Raspa Press. The ebook will be produced by Digitus Indie Publishers.

SanTana’s Fairy Tales is supported in part by The Andy Warhol Foundation for the Visual Arts, through a grant supporting the Artist-in-Residence initiative at Grand Central Art Center. The exhibit is scheduled for March 2017.

Through Santana’s Fairy Tales, I hope to give back to the community, which instilled culture, pride and perseverance in my daily life as an artist. I returned to Santa Ana not as a writer, but as a storyteller/artivist who invokes real stories from real community members in order to offer a counter-narrative for the stereotypes and media headlines that feature Mexicans/Mexican-Americans from Santa Ana, California. By using multi-media, I want to initiate a literary discussion and preserve local culture through revitalization in the form of art versus the recent change Santa Ana faces through the influx of gentrification.

Have you ever suffered from writer’s block?

Yes, and I’m not a big fan of folks who say it doesn’t exist. I think it does for some of us. There are many complex situations in life that keep some of us from creating. Although I recognize I’m in a privileged position as an artist in residence, my journey and sacrifices are not so easily forgotten, nor is my cost of living. Sometimes I can’t write because I’m trying to budget my money for next month and also my time to do community work. Other times, I’m busy chasing deadlines and I forget that I haven’t seen or spoken to my loved ones in weeks. Then there are those days that I question everything, I question if I’d be happier if I didn’t have to worry how I was going to pay bills next month or where I’m going to live next year. I question if I should go back to a “real” job and get rid of some of these tedious tasks of choosing between healthy food verses cheap food or a new pair of comfortable shoes, since I walk and commute via bike because it’s cheaper than maintaining a car. I question if having no health insurance is actually sane or humane. I question if I’m “academic” enough to land a job as an adjunct professor (even though the pay sucks), because I haven’t yet and I’m 42 years old. Then I’m told I don’t have enough experience on a campus, but folks admire that I’ve maintained Barrio Writers for the last eight years with little to no budget on various campuses in Texas and Southern California. So yes, in these moments I can’t write, all of such thoughts block my process—and they come often. Some days I have to convince myself to just breathe rather than write.

Which writers and teachers have most influenced you as a writer?

I can’t say I have a go-to list of writers, because I’m a big fan of contemporary writers. So those who influence me change on a daily bases—most recently I’ve been enjoying poetry by Macondista Ching-In Chen and Juan Felipe Herrera’s latest collection. For fiction, I‘m currently dissecting Emma Donoghue and Etgar Keret. If I have to resort to those who made me feel like I wanted be like them or just escape this world by flipping a few pages, it all started with Judy Blume and Louisa May Alcott. Then as for the maestra/os, I admire Gabo, Allende, Esquivel, and Castillo. For descriptions, wit and male narratives, I bury my nose in works by Joe Jimenez, Junot Diaz, and Dagoberto Gilb. But at my bedside I have Texas Poet Laureate Laurie Ann Guerrero, Leslie Marmon Silko and Toni Morrison—and tomorrow I will add more to each section.

What books have had the biggest impact on your trajectory?

Top 5 List + 1:

  1. All by Gabriel Garcia Marquez (Gabo)
  2. Aphrodite by Isabel Allende
  3. Herland by Charlotte Perkins Gilman
  4. Law of Love by Laura Esquivel
  5. Flesh to Bone by ire’ne lara silva

Plus 1, the latest read: The Woman Who Gave Birth To Rabbits by Emma Donoghue

What’s your advice to aspiring writers?

As writers who have to challenge stereotypes daily, I advise youth (as well as new older writers of color) to be their own mentors and rise above the microaggressions and dismissals from any part of society that seems to be an obstacle to reaching life goals—as so many have done before them. I tell all writers to push through, to write in any shape or form they desire, to adapt critical-thinking in daily life, to share their culture whether it be based on race or just your love for a particular type of music, to speak assertively, “Your voice is your weapon!” Don’t just be the bigger person, role model to those younger and older than you. I also remind all writers to find their support in their community. And if they can’t find it, then create it—begin your own community to empower others like you.

sarah-rafael-garcia-2