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In my children’s fiction, I also want to teach them ideas. I don’t want them just to have a story: I’m giving somebody who perhaps knows nothing about Sephardic Jews a sense of that culture. Even if it is a preliminary sense, it’s an affirmation that this culture and these people exist. In that way, I’m bringing my ethnographic work even into a domain like the picture book.

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self-interrogation is a special quality of anthropological work, one that we don’t see enough of in fiction. Sometimes in fiction, authors hide or erase the work and interrogation that they may have done to be able to write their novels. But in ethnography, we often include that interrogation within our texts. And to me, that’s an inspiring part of our storytelling.

there are just a lot of stories that I hope won’t be lost. I want to be sure that this legacy remains, even though it’s a miniature community and maybe not of great interest to everybody in the world. Especially for writers like myself, who come from minority backgrounds—we’re trying to fill in absences or gaps. There was obviously no literature like Tia Fortuna when I was growing up. There’s this very large Jewish Latino community in Miami, but they’re just not represented in literature. I felt that was a gap that I could fill.

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