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