At the age of 25, I stepped off a plane in Bolivia to begin two years of service as a Peace Corps Volunteer. I assumed that connections with the people of South America’s most indigenous country would be easy because I’m Native. The truth was much more complicated. This is my debut book.
Deborah Miranda (Ohlone /Costanoan-Esselen) author of Bad Indians: A Tribal Memoir, said this about the book, “The Indigenous peoples Pike lived and worked with speak loudly from these pages, challenging many of us to check privileges we didn’t know we had, demanding the right to be complex, strong, and human. This book is all heart, all vulnerability, as a young California Indian woman makes family far from home.”
Do you write in more than one genre? Creative Nonfiction is my favorite genre to write in, and by that, I mean memoir and essays. However, I have a few short stories I’ve written. I have a story about a Native Elvis impersonator who dances in powwows in his Elvis regalia.
What brought you to writing? Writing has always been my strategy for dealing with life. Writing in a journal is a mindfulness exercise. I never knew that when I started, but that’s exactly what it is. Writing requires me to focus on the moment I’m in. All the brutally honest writing I filled my journals with helped me develop a clear voice on the page. I learned to write for myself and never thought I’d show my writing to anyone else. An online writing class at Austin Community College helped me have the courage to share my writing with others.
Where do you write? What, if any, distractions do you allow? A library is the absolute best place to write. During the pandemic, I’ve really missed libraries. Not only are they usually bright and quiet with comfortable chairs, but I am also surrounded by books. There is nothing as inspiring as looking up from my writing to see a book that looks terrible and think, “If that book was published, maybe mine has a chance.”
Tell us about your writing process: There are times when I feel inspired to write, or an essay idea pops into my head, but, honestly, deadlines are the thing that makes me actually sit down and write. In Austin, I used to read at a monthly open mike event, and the pressure to produce something good to read terrified me. I was always motivated to get a good five-minute piece ready by the deadline.
What is the most challenging part of your writing process? The very first revision is incredibly challenging. I am comfortable with churning out the crappy first draft. But turning that imperfect lump into a chapter or essay that I might want to show someone else is daunting. My computer is littered with first drafts that I never went back to because I wasn’t sure what to do with them.
Who’s currently your favorite author? Right now I’m reading Toni Jensen’s Carry: A Memoir of Survival on Stolen Land and loving it. It is beautiful, honest, and humorous in a sly way that makes me want to read it slowly to enjoy the stories.
Do you travel and visit the settings used in your work? My book is set in Bolivia during the two years I lived there in the late 1990s. But I did travel back to Bolivia in 2018 while I was writing the book. Bolivia is a stunningly beautiful country, and the trip helped me beef up the descriptions of the landscape and the people. During my return, I also paid attention to how Bolivians speak and revised some of the dialogue in an attempt to more accurately reflect conversations.
How long to get it published? I queried agents for over a year with no luck. Then Heyday Books, a small publisher in Berkeley, California, began accepting submissions after being closed for a while. They liked the book outline I sent and asked for the full manuscript. A few months later, they made an offer to publish the book. In total, I spent about 18 months trying to get the book published before finding Heyday. Then I spent another year and a half working closely with two editors revising the book.
How do you come up with character names? Naming the people in my book was a difficult issue for me because it is a true story. But I didn’t want anyone else who is part of the story to be easily identifiable. For this reason, I changed everyone’s name except my own. I even changed the name of the town. Bolivian newspapers were a great resource for finding realistic names because they are full of quotes by people listing their names.
Do you have subplots? The revision process helped me with the subplots. The editors I worked with pointed out ways that I could strengthen the subplots. For example, there’s a subplot about an important friendship I had with a volunteer from El Paso. In earlier drafts, the description of the friendship was primarily in one or two later chapters. My editors suggested I add scenes earlier in the book to develop those subplots more. They also helped me discover a few subplots that needed to be cut out entirely.
What kind of research do you do? People might think that writing memoirs doesn’t require any research because the author is writing about their life. And it is true that the eight blank journals I filled with my recollections while a Peace Corps Volunteer in Bolivia were the first source of information for the book. But, in my case and that of most memoir writers I know, research was a critical part of the writing process. I read books and academic articles about Bolivia, the Peace Corps, and even about my own tribe, the Karuk. Not all of this research ended up in the book. Still, it helped me better understand the historical context I was writing about.
Looking in the future, what’s in store for you? An Indian among los Indígenas: A Native Travel Memoir came out on April 6th, and I’ll be promoting that during the spring and summer. After that I will be finishing my next book, which details the years after the Peace Corps when I lived in Eastern Mississippi, broke and pregnant, teaching English at a chicken processing plant. The working title for that book is House, Mississippi, although my teenage daughter thinks I should call it Radioactive Chicken Baby.
Order Book: An Indian among los Indígenas: A Native Travel Memoir
How do readers contact you?https://ursulapike.com/
I am a poet.
I began seriously writing when I was seven years old. I remember making my first few lines in the diary. I convinced my paternal grandmother to buy it when we went uptown one day. This was during summer break when we, my sister and I, would stay with her for our annual visit. Beans and tortillas were all we ate, running in and out of the kitchen all day long and back outside, gulping a spoonful each time we passed the stove.
Wanting to write was a conscious choice for me at a young age. The book, Frederick the Mouse by Leo Leonni, was my early inspiration. I learned the power of words to make one whole, feel well-fed, and warm through that acclaimed children’s book. Frederick being a mouse poet, helped his family get through the coldest part of winter with his poems when their stores ran out.
Today I am the City of Madison Poet Laureate and the first Latina in this role. I served one-year as of January 2021. I have published three of my own collections of poetry and have a new one coming out soon. I have edited and co-edited books, journals, and zines, including the Spring 2019 edition of the Yellow Medicine Review. I went back in 2015, in my late forties, to get my MFA in poetry from the Institute of American Indian Arts in Santa Fe, New Mexico. I graduated in May 2017.
I also serve as the vice-chair on the Wisconsin Poet Laureate Commission and help pick the state’s poet laureate biennially. I consider myself a literary ambassador in my role as poet laureate. Balancing my volunteerism, writing, appearances, and readings with my full-time job takes some organizing. It helps to have a partner who is an artist as well. We recently made Sundays full art days in our house.
Do you write in more than one genre? I do write in other genres, earning two Pushcart nominations, one for an essay and another for a poem. I write short stories, sci-fi and am working on a memoir right now. I took a class with IAIA alum David Tromblay in Fall 2019 and got a good start on my memoir. Poems are my favorite, though.
Tell us about your writing process: Everything for me starts in longhand. I edit on my computer. When I get stuck, I move it back to the page and write it out in longhand to figure out what went wrong in the editing process. I write in my body: hand to wrist to arm to core to heart to brain and back. I write fast on the page and have long practiced automatic writing. My pen always ahead of my brain, my conscious self. I am often surprised by what comes out on the page. The pen admits what I have been avoiding. That’s when writing gets exciting when you are a conduit of sorts and along for the ride. Sometimes lines come to me at night when I am dreaming. I do edit my poems voraciously and enjoy the rigorous process. I think this is where the real writing is now, in the editing. I find inspiration easy, but then I need to work with what I have created and sculpt it on the page until I am satisfied with form, white space, and sound. Poems take you where they want to go and are not done until you have read them in public. I read my poems aloud as I edit, but they sound different in my study than they do at a venue with actual people present. I do not consider a poem done until it has been shared orally with others. When I was a younger poet, I tried out poems at open mics to test them. Now I can record them and listen back, but it is still worthwhile to share them with others for final edits, in my opinion. Poems sound different when you read them to a live audience that one word makes a difference.I also think it is important to read other poets’ work, old and new. I like the idea of poets in conversation with each other across time and space and genre. Some of my poems are in direct response to another poet’s poem I heard them perform or something I read in print or online. I learned in graduate school that I love theory and continue to study. Listening to poets and writers read their work is a real pleasure for me. How you hear the words in your head versus when it is a public performance is enlightening. I listen to poetry readings, lectures, or conversations with writers when I cook these days or travel to visit my family in Chicago or Milwaukee.
What are you currently working on? I just received my contract from Finishing Line Press for my newest collection, My People Redux. This is the 2nd half of my master’s thesis. In Light, Always Light, also published by FLP in May 2019, was the first half. I graduated in May 2017 and spent a long year re-working my poems. In Light, Always Light, accepted in August 2018, was a finalist for their New Women’s Voices Award.
Concurrently, I am working on another collection of poetry that focuses on the history of us humans. This involves research. I am enjoying the process and taking my time. Some of these poems are published, and some are still being edited. I need to continue to push them out into the world. I was also working on my memoir in fits and starts.
In my role as the poet laureate for the City of Madison, I will be judging the annual Bus Line Poetry contest soon. I have many upcoming scheduled readings for a book I just published under my small press Art Night Books in November 2019 called, Through This Door – Wisconsin in Poems. This is a collaboration with the most recent state poet laureate, Margaret Rozga. The book took us over a year to put out and is the second time we have published a collection together. I served as co-editor for this collection in addition to being the publisher, and we have had a good response. Twice we have been on the radio, NPR stations, and I have logged many hours at the post office mailing books out across the state and country. We had to go back to the printer three times now.
I consider myself a literary ambassador as a poet laureate and this has opened up many doors for me. I want to continue to do that for other writers. We need community and support. I would not be where I am today without the networks I found all along the way. Nor, without people sharing opportunities with me and freely offering up what they know, and being generous. I believe in the power of art to heal, connect and create community. It is a record of our lives and our history. I am so happy to be on this journey at this moment in time.
Here are comments about my work by two poets I admire:
The poems of In Light, Always Light afford space for the lyric to clarify and delineate the self “… through the ravine to the seam / the V peak of the hills / where dappled light spills / between rocks and discarded beer cans.” Here Angela Vasquez presents poems that struggle to contend with family history, a history of diaspora and relation, of assertion and insistence that the reader and the poet must bring to bear the imperative of “yes, yes fight back.” The poems travel, as we do, to observe the poet in the eternal dimension where one must write, and read — “Let me sit in sadness for a spell. / I need to write this out.”
–Joan Naviyuk Kane, 2018 Guggenheim Fellow
The poems in Angie Trudell Vasquez’s In Light, Always Light honor the illuminating power of poetry, but they also speak eloquently of racial injustice and the dark “inherited grief” that is its offspring. These are poems of history, endurance, and remembrance. They vividly story the strength and survival of migrant ancestors “who built railroads / with broken backs” or shared “mole recipes on parchment.” In those relatives “passed. . .to vases of bone and ash,” Vasquez recognizes the fleeting quality of human reality. Like our forebears, we are mere “half blinks of history,” “we are magic dying.” But in this volume, Vasquez offers her ancestors colorful and enduring literary lives. “Poets,” she writes, “resist the death of a people” and “beyond death, art speaks.”
Kimberly Blaeser, author of Apprenticed to Justice, Wisconsin Poet Laureate 2015-2016
If people want to connect with me, the best way is email: email@example.com
My website is www.angietrudellvasquez.com, and my small press website is http://www.artnightbooks.com
Terese Marie Mailhot – A New York Times bestseller
Selected by Emma Watson as the Our Shared Shelf Book Club Pick for March/April 2018
A PBS Newshour/New York Times Now Read This Book Club Pick
A New York Times Editor’s Choice
Winner of the Spalding Prize for the Promotion of Peace and Justice in Literature
Finalist for the Governor General’s Literary Award for English–Language Nonfiction
A Barnes & Noble Discover Great New Writers Selection
An NPR Best Book of the Year
“There are so many sentences I had to read again because they were so true and beautiful. It’s a memoir of pure poetry and courage and invention. Whenever I think about it, my heart clenches with love.” —Cheryl Strayed, The New York Times Book Review.
“A sledgehammer . . . Her experiments with structure and language . . . are in the service of trying to find new ways to think about the past, trauma, repetition, and reconciliation, which might be a way of saying a new model for the memoir . . . If Heart Berries is any indication, the work to come will not just surface suppressed stories; it might give birth to new forms.” —The New York Times.
Do you write in more than one genre? Yes! I have a novel coming out soon! It’s untitled.
What brought you to writing? I loved my mother’s writing very much. She was the first person who really taught me about writing. I would watch her work nightly on poetry or essay, and I always thought it was honorable work.
Where do you write and do allow any distractions? I write in my bedroom, because it’s the only room in the house I could set up an office. I invite distractions. I’m very lucky in my life. This pandemic has taught me to value family time and I’ve also learned how to enjoy being sidetracked. Those moments of distraction can be inspiring and energizing.
Tell us about your writing process: I write every day until I make my wordcount goal. Then I take a few months off and revise. If it’s for something more urgent, I work relentlessly, nonstop, until it’s as good as it gets for that deadline.
What is the most challenging part of your writing process? Time. Work life getting in the way.
What are you currently working on? The novel. I’m giving it time. I finished the first draft, so it’s about time to revise.
Who’s currently your favorite author? Kiese Laymon or Jesmyn Ward or James Baldwin … it’s too hard to choose!
How long did it take you to write your first book and published? It about 6 years to write. It sold two weeks from the time I sent it out and was published a year after.
We hear of strong-willed characters. Do yours behave, or do they run the show? I like the outsiders. I like writing from the perspective of black sheep types, because their interiority is electric and perceptive, willful, and neglected.
Do your protagonists ever disappoint you? Yes.
Do you try to make the antagonist into a more human character? I think flawed characters are my favorite. I like people written off or disregarded, or people who are misunderstood.
Do you have subplots? If so, how do you weave them into the novel’s arc? I think there are underpinned themes in all the work I do. I think, in my current novel, there’s an underpinned theme of joy and collectivity, and I think of it like taste. Like, there should be many dimensions to a good dish. There should be a lot to savor or value in good food. Maybe I’m hungry. It shouldn’t be overbearing the main course.
Do you raise the stakes for your protagonist—for the antagonist? I like work with little plot. I just throw wrenches at my characters until something strikes me.
Do you outline, or are you a pantser? Both.
What kind of research do you do? A lot. As much as humanly possible from all kinds of sources.
What is the best book you ever read? Giovanni’s Room.
Do you have any advice for new writers? You can do it. It’s harder for some, but nothing is impossible.
Anything else you’d like to tell us about yourself and your books? I write for the women I love. I write for my mother.
How do our readers contact you? Teresemailhot.com