Kathleen Alcalá Quotes

That's how dreams are. Nothing ever quite happens, but you assume it's going to. It's as though your mind stops wasting energy on the image once it thinks you understand what's going on. (p163)

In this desert was my beginning. My ancestors were born here, lived and loved here, suffered loss here, and died. Eventually, war scattered us, and we have lived a sort of exile ever since. But in our exile, the stories of the desert have taken on mythic qualities. Nothing else can ever fill up the empty place in our hearts left when we departed this place. Only the deserts and the oceans, the places where the rhythms of the universe are most apparent, can assuage that ache for a few moments. ("The Desert Remembers My Name", March 24, 2000 at The Border Book Festival in New Mexico)

I hope that by including these cultures, the Jewish and indigenous as well as the mestizo, we can get past the idea that we are a monolithic people.

What I do know is that a writer's main job is to always be open to the possibilities of story. Like the interconnected lakes, old stories lead to new ones, and lead to new ways of seeing and living in the world. Like Amalia clutching her yellow roses, I will continue to follow these stories wherever they lead me. ("The Skeleton in the Closet" September 24, 2003)

I want my writing to insinuate itself into the subconscious of the people of the Southwest, so that we might remember who we were and who we will be, since so little time is spent in the present.

We remake our world by reimagining it, by sharing our idea of the world.

Even without legs, moving about by the propulsion of his strong arms in a crude, hopping motion, [he] seemed to have roots that extended far beneath the surface of the earth, and tied him to the memories that we all share. (p135)

The writer and her language should be the humble servant of the reader. To me, the act of writing is not fulfilled until it is read. The words need to be read, digested, and assembled within the context of the reader's mind and experiences in order to be complete. In other words, every reader is "reading" a different story, because every reader brings a different set of experiences and sensibilities to the story.

A good story works like a musical composition. An idea is presented, elaborated, debated and perhaps defeated, and finally, presented to the reader in a modified, more mature form that embodies the path that was traveled in order to reach that idea. By taking the reader on a journey, we, to a certain extent, can re-create in their experience the thought processes and emotions of our characters. This should be done with compassion, humor, and generosity. But again like music, we can provide a pattern, a symmetry and closure that one seldom encounters in life. That is why reading good writing is pleasurable and fulfilling. That is why listening to good music can induce ecstasy.

With our dreams, with our stories, with our tears, and with our hopes, we, too, scatter new seeds and harvest new beginnings. We gather outside-the sky above us, the earth below, and all of the ancestors watching. We gather in a place blessed by the sun, watered by the rain, and cooled by the wind. We gather in a place that has known fire, and survived. We are here to remember the future, and look forward to the time when the ancestors remember us. May they rejoice. ("The Desert Remembers My Name")

something that interests me is the fact that we continue to document things even if it's after the fact, even if it's a hundred years after the fact, to show that there were other voices, other points of view. I continue to do my work in historical fiction, but whoever we are and wherever we're living, the events around us continue to influence our view of history and we each continue to rewrite history in our own way. There is no set history. Each of us brings a new history to bear...I've done so much research with what's considered history that I've decided that it's just as fictional as fiction is. And many of the truths that I'm interested in telling need to be told in a narrative form, which history or anthropology or some other disciplines doesn't necessarily lend themselves to. People need to hear things in a certain way in order to understand them, and so I think that fiction in many ways tells truths that history is unable to tell.

This is the story of my journey to Tucson, where I would find both happiness and sorrow. This is the story of my people, the Opata, who once numbered as many as the saguaro of the desert, and who once farmed many rancherías and had many villages, but are now just a few, and scattered far and wide from their home and the constellations that knew them. (p5)

(What is your advice to Latinex writers?) Don’t devalue your own stories. Two of my role models are Ana Castillo and Denise Chavez, who draw on their backgrounds for the work they do. They are fearless. I look at them and know I have no excuse. For years I wondered who had given Castillo permission to write? I wanted to ask her in person. By the time I met her, I realized she gave herself permission. Apparently, that was what I was waiting for, for someone to say, it’s okay. Well, I gave myself permission, and it’s okay.

I never made a distinction between realistic and magic realistic writing. The first book I read that probably fell into the accepted canon of magic realism was One Hundred Years of Solitude, by García Márquez, maybe in 1972 or ’73. I remember I found a copy in Spanish later and sent it to my parents, because it was so like our family stories. I also made my husband read it before we married, so that he would understand what sort of a family he was getting into.

We each seek to retrace those steps that led us from where we once were, to where we are now. ("Found in Translation")